The Music Magazine
the music magazine
dn t~ ~1U3 •••
Zoltan Kodaly Was My Teacher
GYORGY SANDOR • Sing with Your Fingers!
MARY BOXALL BOYD • More about the Pharyngeal Voice E. HERBERT -CAESARI • Music Has No Short-Cuts
JOSEPH FUCHS • How to Teach the Adult Beginner
R. M. GOODBROD • Monster in his House
WELDON D. WOODSON - Exciting Educational Works By MARY BACON MASON NOW @uM~ u«w;ic 8~
CLASSICS IN KEY-KOLOR THE ADULT APPROACHto the PIANO For the Piano 430·40087 $1.00 FREE 430·40092 ...... $1.00 While designed as a first instruction bookfortb A way of writing in which each note is the color teacher 10 use in giving piano lessonstostudenl~ of its corresponding piano key: black j f played of high school, college age or older, manyre. the on black key. white if on white key. \Vilh this ports prove it of value to seH-heJp student' slight change you can read music in any key Sight-reading. a most desirable accomplishme;; without first mastering scales and signatures! (or those of malure age laking up pianostudy Pedal signs are used and necessary smaJJ i stressed (rom the very beginning. Memoril~ NEW GUIDE changes have been made in existing notation. ing also is ncoureged. The total absenceof 24 selections. For the fusty reader, for adults childish rules and musical themes has inspired containing: or for grades 3 to 5. its use by some teachers with students in the teen ages. • .... 128 pages, FOLKSONGS and FAMOUS PICTURES AUTUMN AIRS and SONGSof SPRING •••.... over 660 430·40094 ...... $1.25 430·40189 $.75 A practical introduction to the keyboard based Based .on folksongs, traditional melodies, la. piano solo on folk tunes of many lands. First work in ver-ite airs. and compositions of the masters,the harmony, ear-training, memorizing, etc. Imagi. recreation pieces in this collection are about thematics, native titles, 75 pictures including reproductions grade 2 in difficulty. Verses for singing. Illus. of composers' portraits, musical art subjects, trated with line drawings which may be colored . complete etc. 35 paste-ins, color charts, and 48 cut-out by the pupi/. Oblong form. cards. Oblong form. Age group, 7-11. classified list CHRISTMAS CAROLS of piano books FIRSTCLASSICSand FOUNDATION Made Easy to Ploy ond Sing and ensemble HARMONY 430·40038 ...... $.75 430·40093 $1.25 A gift hook that any child will appreciate. Here pieces, A second year book to follow "Folksongs and are all of the most-beloved Christmas carols in and many Famous Pictures." Selections from Bach. Mo- arrangements piano beginners can play, thor- zart, Schubert, Grieg and many others. Simply oughly fingered and carefully phrased. Complete improvements arranged, set to interesting verses. Cut-outs, texts are given, one or two of the verses being color charts, instructive games. Oblong form. printed between the staves. Adjoining each gathered from carol is a space for pasting a Christmas card so that, when completed, the book becomes a among the 35,000 FAVORITE PIECESAND SONGS treasured souvenir. 430·41005 ...... $1.00 users of the 1950 BOY MUSIC Adapted for use in classes or with jndividuaI guide pupils. Designed to follow "Folk Songs and A First Piano Method For Boys between Famous. Pictures." Aimed to foster a real love 8 and' 6 of mus!c, WIden the range of reading, build 430·40089 $.75 YOU will want rhythmIC ·sen~e, give strength and control to fingers, and Increase practical knowledge of In this book everything-music, titles, texts and this NEW guide keys, scales, and. harmony by consecutive study iJIustr'ations-is designed to interest the boy. He is encouraged to memorize, transpose; yes, to 10 one.k:y at a ume. The first 32 pages consti- as a permanent t~te mtrumum requirements; the remainder con. "play by ear." Exercises are termed "Stunts," srsts of su~pleme~tary pieces, studies, and duets practice is a "game." AJI camouflage, however; source book. for recreation, recital, or reading. Grade 2 to 2~. there are 73 songs and pieces, 40 technical exer- cises, 30 chord exercises, 8 scale exercises, 9 rhythm drif ls, 8 notation studies, 10 transposi- MARY BACON MASON FLASH CARDS tion studies, etc. in the book. Oblong form. This illustration is two-thirds actual size of the guide 430.40018 .. " $1.25 MARCHING MUSIC For notation dr-ill, an .envelope containing 30 430·40054 $.75 cards, 60. faces. Especially designed for class use, they Illustrate 36 notes on the Grand Staff 28 selections from a variety of sources: American ...... •.....••...... •....•...... __ ...... •- key slgnatu~e, time signature, rhythms, rests,' cowboy ballad, dignified music of great mas. E-1 repeats, accJdentals and expression marks Size ters, national anthems and operatic airs. All CLAYTON F. SUMMY CO. 6~ x 10 inches. . arranged in march time with texts for enjoyable 235 S. WABASH AVE., CHICAGO 4 mail singing. Attractive illustrations. Grade 2. Please send FREE copy of the NEW 9uide fo: Prices subject to change without notice. this coupon (or post card) • • •I • for your • • ~-.-..__ .._ .._ •..••••...._._ _ . FREE guide
ETUDE-APIiIL 19:;/ j p------Parents! This valuable If yOll sing, play"--- LeTTeRS FREE GUIDE ETUDE ~...0< •• ~~". or illst like to listen BY THEODORE PRESSERCO., PHILADELPHIA, PA. yOll'lI enioy these PUBLISHED MO NTHLY , Offices, Bryn Mawr, Po. uronderlul will help you Editorial and AdvertiSing mustc I Music Seclion ity and interest are unique. Its new, books ~l. Brother Boniface, F. S. C. Founded 1883 by THEODORE PHESSElt o Sir: Many of us would appreci- Napa, California ate larger notes in the music JOHN BRIGGS, ElIiwr ..H ow-fo" bools section. Charles J. Reed, A rt Director Sir: The ETUDE looks as if Dorothy F. Gal=ret"vn, .Ifal1agillg Editor Mrs. Laura Koch ctuicrlct you were going out of business. _, it's a Wurlitzer, J. Clces :McKray, M usic Edit.or Downers Grove, Ill. . Eliubelh A. Cesl Guy Maier . On Studying Mrs. Ed'ward H. Sherman Harold Berkley Maurice Dumes"il ",,'ilfrill Peltetter vt'jJ]iam D. ueceui Greenwich, N. Y. Gehrkell5 )leCunly Singing Karl W. Ale~ander Sir: ... the notes are blurry, By SERGlUS KAGEN almost as hard to read as shaped Sir: I have been a musician you can play it! "1 recommend the volume highly ... "'illsme notes. and teacher of music all my life, m3ny s.ngers to be. smgers who are singe Mrs. Harvey Edwards and began taking the ETUDE in in \l,·ho have been. The srudem will hav~a ~ APRIL 1951 ~uide and fri~nd in this book."-M,lggillIJtr Crystal River, Florida 1907. Through the years I have New Wurlitzer home organ YourChild's Vol. &9 No.4 CONTENTS S'IlNrJal Rtf'lrw Stoo seen the standard lowered. the Development Music for the Sir: We've always been rooters many repetitions of musical se- with 1000 different tonal effects 11''':.'- T IJ I' ES Ior the ETUDE. but the music lections and other changes I do this year is so hard to read my not Iike, but today when I re- .. , ... " .. -". 9 Voice DILEIHM4. IN DETROIT ~ ., . - ., , ,. . CYlIrf('f u,ulfJr- pupils and I are about discour- ceived my copy of the new num- ~ .. , . 12 A DESCRIPTIVE LIST DF CDNCERT _-_ ZOLTAN KODALY WAS MY 'IEACIiER ... " -, ••.• ' ' , - ';t M, CmulIJr-tid 14 aged with it. Why is the music :-'0 ber. my disappointment was too AND TEACHING MATERIAL give your child the ROW TO TEACH ADULT B.EGINNEHS .. , •. : '.•••• .... '.". '.}MPI"l FIlt'I,. 15 hard to read? It's not a pleasure great. to hold. I am not a fanatic r------MUSIC HAS NO SHORT-CU rs , .. , 16 By SERG/US KAGEN anv more except for the article". or a complainer, but what. has ('f'S FREE-IT'S FUN-IT'S FORUMl , .. , .• ,. , , .. ' .••. '. M\OSl CE £ U{'r'u'rl·Cm,_arl 17 "Om: IIf the IOlen"sung boob of lilt decade... C. Eflsasser lmppened to the ETUDE? ROUT THE .-UARYNGEAL VOl .. , . , , , . , . , ,. . ~ r. • /_ hundreds of pages or UJdul inrornution about RIGHT START IN MUSIC .IORE A . ~_,III'" ,(f',lIllr, Conneaut, Ohio Mrs. IV. /-I. Walton CLASS TEACHING GETS RESULTS ... , , .. , , , . , , . , . ' . , n 1I I1lWd 1" 'i)('.11 rc;pc:ftolft . . . ,hould be ~il'tllto ,II COURSE y '9 ),1\101;~In tr'i."-P."I fI/OIlI. N~ltI 55.00 Dwight, Kansas Written by CIfamous expert on child SING WITH YOUR FINGERS .. , . , , .. , . , .. , •. , .. , .. Adfar DQ-<,~ /- Wei Oil , .- .lIlt .QIl 20 Sir: I have been a subscriber care, .this practical, useful guide will 1\10NSTER IN HIS HOUSE ....•.. , " . ltlusic for the answer your questions about the place fur over 40 years. I still enjoy tile "It's All Done with Muscles" articles. but do not like the print- of music in your child's personality. ".:.-.' II. T ~I .:N TS Violin and Viola 3 ing of the music in the recent Sir: For several years I have Gives you factual, common-sense LETTERS TO THE EDITOR ... , ..... , •..... , •.•... : .•... ,., '.' , .. By HANS L£TZ 1 assistance - shows you how to make ;\WSICAL ODDITIE~ ~ .,., , •.. , .. , , . l"'lt~{Jt(U . Ilmlt't.J..·y Ilumbers. It is too small and in- been a subscrjber and cover-tO' music a part of daily life, s~ your child (, ~hu\u ill ;a _bllcc thl: ~l flt'CU, old andllr\I.• di,,:tinct. cover reader of ETUDE. I always NEW RECORDS •.. , , ...... •• , .. ,', •..... , . c,·,.,/{,· ~(fU'.(},'t"IC lur \"011" .1nd \flub IOlIh I'r \Il11hOllIpilnu; 1 doesn't have to he "taught" to like it- MUSIC LOVER'S BOOKSHELF ... " .. , .. , .•. , .. ' .. ,:'~flllWII~/'iIl~J.'Il"" 7 I:f.1dW LtlUf'C" 01 luthilll( nutcrial lor In, Mrs. Martha F. Gale read everylhjng abolll piano helps yOll decide when your child is '1OI,n; 1«lImc,t Jh,d,. r'lI" the \I,\IJ. S2.50 SOUTHERN YOUTH BUILDS AN ORCUESTIlA W:lllj'f'd J~ l~kltUIlII 2. Con.cord, N. H. playing_ and have found the arti- ready for lessons. Write for your per- THE CONDUCTOR'S .I'lAGIC .. _ , }ol". fin/.'y WlU'(WUUII 2:\ cles and piano departments help- sonal copy today! , \ The Concert SiX MANUALS AREN'T ESSENTIAL , , .AI,·xm,dpr- Ir u,Jy . • Beginning wilh lhis issue, ful and inspiring . VIOLINIST'S FORUM .•.... _ .. , , , •.. , , ....••... - . - .lIurold U,.,kt,.y 25 ETUDE hopes "caf/c,'s will find However~ this month I was 2 BamI ADVENTURES OF A PIA~O TEACIIER _ ... , .••...... , •• ,Guy Hni,.,. the IJI'inting of Ihe music seclion lTluch surprised by the ending of 8y IU HAR.D FRANKO GOLDMAN THE WORLD OF MUSIC .. , , •.••••... - .. , . , ..•... - .. - - '17 itlll)l'o,"eri. ED. Andor Foldes' "It's All Done with 53 ORGAN QUESTIONS , , , , . , Frederi,.h Phillipli .. 'I"lhle, •• \InllJU11 ••. tt".1tUble... dips Muscles" (ETUDE. February JUNIOR ETUDE .. , . , _ , ,. , • , . , . , •..•.... , ,EI;~"b""1 A. C,..., 51 mh~ I.;n Even the simplest melodies reveal the "grand piano" tone of this new spinet. Secret of this amazing performance is dyne-tension, Everett's extra tension string a concert: "HoI\' did you like Fugue of the first book in tlrc principle ... until now available only in costlier models. the tempo?" "Fine," replied Well·Tempered Clavichord (Ex. 1. 2 and 3). ]t has elements Beautiful furniture-styled models arc now on display Godowsky, "particularly yours!" ... A local pianist that can be played in polka ... exclusively in America's leading music houses. write plavr-d an operatic selection at ryhthms. So much for the fri- toduy for free catalog and list of authorized dealers. a party. "Do you know what volity; profundity comes in this Everett Piano Company. South Haven 3. Michigan it is out of?" one guest asked fugue in its expert triple coun- another. "Out of time," replied terpoint which is elaborated so the other. that the harmony sounds pleas- urable and natural even to un- By NICOLAS SLONJiUSKY dyna-tension EVERETT In a letter to an American tutored ears. The tonal answer, admirer, written around 1900, which is the relic of an old tnt- ••• A SPINET ONLY IN George Bernard Shaw made Mendes," he commentedsarcas. PRICE, SIZE AND STYLING AN ITALIAl'l" MUSICIAN~ Carafa some pert observations about l\.. de Colobrano, who lived in tically that Debussy was well heredity. Some of the theories ! r b Model T-100 Paris, asked Rossini to help h~m cured (uccentillg the fir~l about the heredity of acquired in his straitened fi ua nc ial b at, and that now in hismusic characteristics reminded him of $1695.0 circu mstnucea. "1 have no ··all beat are weak beals." Bel. the remark of an old woman Real lI.flswer money to give you," said Ros- laigue \\lung out violentlyat whose daughter played the b j. t- complete sini. "but here is an unpub- his f rm r friend and co-disci. piano. "Your daughter plays li~h~d manuscript. Take it 10 a pi . "It i not the least original well," a woman said to her. "Yes," the old woman replied, pubfishcr, and he will gi\ yOll trait of M. Dcbu sy," he wrote. Ex. ;) Tonal lU'swer 1000 francs." It \ as R ini" "I hal h 'an compose a com. "she does have a fine touch, ~!rtr c!rby fantasy of Meyerb cr" music, pletc opera without a single and it's no wonder, for she subtitled "Sweet Mornorice of I hras , \\ ithout a ingle barof loves the piano, and never tires of it. Ye see, she's a great taste L'Africaine". The publi h r wn melody. Ther arc no leitmotifs Ex. 4. Subject in C"ha.rp major delighted to have the piece, in Pcllea , 'lelieende, forthe for music; but, then, that's Oldy i I) particularly since Rossini's dis- ..imple reason that there are no natural, for her grandfather _~ II "JOlE m like of Meyerbecr was noiori- motif r any kind. Rhythm had his skull fractured with a cornet at a picnic." ous, and he gladly paid ar-rfn sc In no les hateful to M. De· ~ T"" answer the sum of 1000 Ir ..uics for it. hussy. "In his opinion, rhythm If/hen a sports writer IS ta I , ,)"jj2'J::Js±H:jE But upon exnminatiou. Hoseio i's is, like mel d)'~ an obsolete sent out to review a concert, ". . ... "sweet memories" of \It,y f- f rmula. nn old encumbrance anything can happen. A news- dition, here does not wreJll:h beer's opera proved to h d fi4 fr III \\hich music must be paper ill Quincy, Illinois~ car· nitely sour. The music was full fr . In hi doublyamorphoo, the melodic line as it docs in ried this account of a recital the C-sharp Major Fugue~ for of deliberately ontrivcd dis 0- art, th ob Iilion of rh)1hm by the famous violinist, Eduard instancc (Ex. 4 and 5). Many nances and noi y trelll 10<::. ~ han 1 in hand withthe sup· Rf'tllE'llyi. in October 1893: a musical lad and lass might Needless to ay. th manus ripl pr ion of In IOOy.... The TAPE RECORDER "When it gets right down to think that the answer to tllP was never published. or·h Ira r M. Debussy ""m, a quesliull of what's what~ this subject of that C'sharp Major mnrle d with smallpox. It isthin man Rcmenyi can outficldle any fugue is ~~wrong." The inter· Here's how yOll yourself can appraise your A young IJian;st \,as mak· and Illa int d. When it pre· ••• PRECISION-MADE BY man in Adams County, barring vallie progression of the subject own performances and improve your ing his debut. As he sat at the t nels to car s, it scratches and SETH THOMAS CRAFTSMEN no man, He fiddled up olle side itself seems strange, with its technique! hurts. It makes little noise1I piano, he noticed that the piano and down the other-hippity. emphasis on the major seventh: admit but the little noiseit Students and teachers of music and bench was loo far fr m the , I . hop. skip and a jump. He can and it soumIs cven stranger in With the Revere Recorder, you hear every dancing arc enthusiastic users of the keyboard. He seemed I' rplexcpianos with one of Ins llome de Maelzel with care and preci- any of the other notes. This will able, re-usable tape ... pO"\"erIul, constant were excellent. pupils. uYou are a wholebeat .1i\- OLD ISSUE of The Boston sion. Its sturdy key-wound mechanism 11\' satisfy the tradition that re- speed motor ... time and footage indicator . db " aid the Musical Herald, a magazine is handsomely encased in birch with belund, my ear 0Yl 5 quired a reciprocal response, ... and many others. rich mahogau'y finish_ Ask to see this CA~IJLLE BELLAIGUE. the tea hr. H ut of respect for long extinct, we find this quaint so that the dominant answers rer fine Metronome in better music, depart- French music critic, who you," replied the pup.il.re . description of the fugue: the tonic~ and the tonic ans\\'~r5 See Revere demonstrated at your dealer- ment and jewelry stores cyerywhere. was in the same class with 0 . ently ... Franck's Vlolm S~. A fu.gue is a fOrln in. the dominant. For instance, the onc trial wilJ convince you of its value! Its price ... only $12.95t. Seth Thomas hussy at the Paris Conserva- nata was plared at a conce. wlr.ich the right hand says "'Jl~".U. S. 1'''1. Off. real answer to the subject of Clocks, Thomaston, Connecticut. n tl'ri~..bubjec( to dumae. tory, reports that Debussy hUll 5 the last movement beg.a , In Ihe left: If fugue get the C Minor Fugue would .b~ REVERE CAMERA COMPANY. CHICAGO 16 the habit of breathin'" violently WI·tIl·Jts Iamou- canonicionta·. Ihere before 1 do, Tell an exact transposition into the on the first beat of every mea. tion a lad - in the audIence them I'm.. a.coming too. key of G Minor. By changing , . hbof' the super tonic of the original ure when he played the piano. remarked 10 her .,nelg b·ut and that his schoolmates COll- ''They are fine mUElclan~~ 01 Playfulness and profundity key, to the tonic of the origjnttl stantly teased him about it. it' too bad thaI they dl?, n are comhined in a perfect blend key, we obtain a tonal answer. TIlE RECORDER OF When BeUaigue rc,-iewed De- r hearse enough together. rt- in the most popular fugues of which retains the feeling of the . qua '"' B,wh. such aE the C l\tlinor bussy's opera, HPeUeas et .Meli. A member of a 5trm~. _after basic tonality. sande" in "Revue des Deux asked Leopold GOOo"k) ETUIJE-APRIL 1951 5 ETUDf-APRIL 19j1 lUusic Lflver's CURZON uses the Steinway exclusively, as does virtually every famous artist of today: Gorodnitzki, lateiner, Menuhin, Mildner, Morley & Gearhart, Siokowski, BOOKSHELF Templeton, Kraus, and many more. By THOMAS FAULKNER By GEORGE GASCOYNE Give your pupils the benefit of The Rumance of Ihe notes on his most frequently Mendclssohns played works. Though unpre- ensemble training with these the Steinway? Bowles: TlCI(I-/~ifl/jOConcerto By Jacques Peutpierre tentious, the little books offer four new duet books for piano. Prudes Festival Tl"{lflsfatetl by G. Midwlot-Cote a good deal of valuable infor- Lois Long has expertly A musical event of inter- Paul Bowles wrote this work for the team Even in England, the cen- mation. arranged "Musical Moments" in national importance was the two-piano of G0ld ter of what George Bernard Grosset & DUI/Lap,50 cents each festival at Prades, in southern and Fizdale, who perform it simple, four-handed versions Shaw called "Mendelssohn-wor- France, which took place und r on the record. The work is to be played by teacher ship" in the 19th century, there the direction of Pablo Casal scored for two pianos, winds Handbook uf J. S. Bach's and pupil (Grades 1 to 2). has to date been a dearth of Cantatas last June. Columbia Recor Is. and pcrcu sions. It is an odd Mendelssohn biography. Read- By Werllt!r NCUIIl,,"" which acquired exclu ive re- intriguing work. played \l'i~ ers who know all about Clara cording righl I' th f rival. gu to by Me rs, Cold end Fir. A systematic catalogue of r Wieck Schumann and Cosima has now released th re ult f dale. n the other side is Mil. Bach's 217 church cantatas. list- von Biilow Wagner might be haud' U arnival at New Or. ing contents of each work. in- its efforts on t n LP Ii is, The pardoned a moment of uncer- I an ,It 01 a written for the strumentation, solo voices' re- all-Bach pr gram r th f ti- tainty about Cecile Jeanrenaud. quired and range of each solo. val include nil the "Brand n- pi no duo. Daniel Saidenhern who later became the wife of The work appears in the orig- burg" Concerto, uites, sonn- conduct th performance, (C;' Felix Mendelssohn-Barrholdv. inal German, and it is likely to tas, both solo and accompani d, lumbia, one LP disc). Mendelssohn's bride catll~ of be of interest mainly to ad- and other works. a family of French origin who ~ 1Il •• w ...... ,_ .. vanced scholars. Associated ~~ A roster of Ii tingulshed mu- Buell: Ilridlll/ll O,aforio moved La Frankfurt, Germany, Music Publishers, New York; Familiar airs your pupils like ... from the sicians to k part in th I rode!'; The va t musical panorama best-known of the world-famous piano con- early in the 19th century. She Breitkop/ & Hartel, Leipzig, certos. Price 75c. Festival. The) inclu I d Hud If or Ba h's U hri tmas Oratorio" met the composer when he came $3.50. Serkin, Mieczy law Horszow- is rr red in an uncut version to Frankfurt in 1836 to conduct sky, Joseph zig ri, Al xander h Renaissance Records (4 LP the St. Cecelia Society in place P.a;;mlini, i\1asICi' of Sn-Ines NEW Schneider, Isaac tern, ug IlC dis ). Th work was designed of its regular conductor, who /1.,. O,ml Wheeler e lrom·i'~~1tii~~~~~~~~..11 lstornin, lara lin kil, Mnrc I b Ba h I be performed 00 ,ix was ill. The two young people Hepplewhite in mahogany ,h• .-:;,a;...,..:;W1~~;;,:;l:.I:~:;I:il~1I Tabuteau, J hn WUl11m r. Leo· • Iarat cia) of the Chrislrn~ were married the following Addressed to younger read· pold Mannes and v lin lefe- f lival. and i a little over· year, and set off on a honey- ers, this book presents in fie- bure. I>owcring \vh n heard at a sin· moon journey down the Rhine. tionized form an account of the Not income-but the satisfaction of owning a Most strikin« of all i Ih gl iliin. Each seclioo. how· Both were gifted artists, and life and doings of the fabulous fine piano is the basis for choosing the Steinway. playing of Casals himsclf in v r, contains magnificent mo· their pen· drawings and water- Niccolo Pagallini. The story be- This piano's golden tone and matchless perform- DUET colors from the journey are re- gins with Paganini's tempestu· ance attract persons from every walk of life. If three sonatas f r ('clio: "ilh _i Ulnt ,,-ill reward man) Popular symphony themes, brilliantly ar- produced in Mr. Petitpierre's ous boyhood in Genoa. and you can afford a piano, you cannot afford anything ranged to sound very full, yet easy enough Paul Baumgartner al the pi n _ I' ·heari" . The performance for young pupils to play. Price 75c. less than a Steinway! Once again t.he areal mast r wa recorded in Europe by the volume. Then they returned to follows him to his eventu'al trio Leipzig, which Mendelssohn's umph as a world-famous virtu· dcmonsb'ates thal he is out- lull arl Choral Society and You will find-as all Steinway owners do- Gewandhaus concerts had made oso. An appendix introduces standing among living mu i- the \\Iabinn ymphony. that though the initial cost of this piano may be one of the most famous music two melodies from Paganini's cians. higher, the benefits are so great as to make it the centers in Europe. First Violin Concerto. most economical of pianos. Mastery becomes The Prades Festival records Ibnd I: 011010' BOOKS Besides being excellent biog- E. P. Dulton, $3.75 easier. A keener sense of tone is developed. More- are of rare historic and musical onala 01 Handel for flot~. raphy, Mr. Petitpierre's volume over, so skillfully is the Steinway made that, with interest, and cannot be recom- boe and continuo are played proper care, it will serve your grandchildren as offers a quaint and charming A Diclionary' of VOCI,J TllCmes mended too highJy. 011 a Ilew Allegro LP disc hy magnificently as it serves your children. Consider, picture of life among well·to-do By Haroltl Burloro Philip Kaplan, Lois haefer. too, these significant factors: German music lovers of the 1",,1 Sam ~lorge"sler", BCelho\'cn: "Fide/io" amu I layes. Joba Holme; early 19th century. • Only the Steinway has the patenled Accelerated C and Erwin Bodky. Tbe moSl Jt is an uncomfortable ex- Action, so essential in developing sensitive tOuch. ' Simple.fou~.handed versiona. of familiar Beethoven's great irs me- Roy Publishers, $3.50 Operatic !--irs. Easy to play. Orchestral . is channing. and lIle perform, perience to have a tune which "HOW TO CHOOSf In what uneven opera i seldom • Only the Sleinway has the patented Diaphragmatic effect. Price 75c. one cannot identify runninO' heard in the opera houses of nnee is e.~rt. Wagner: Robert, HilgrlT YOUR PIANO" Soundboard, which permits big piano lane in even the through one's head. Harold this country. Therefore Bee. Tchllikovsk:r: LOllis Birlrlcolli This helpful booklet, smallest Verlical. lrnu_": "Ver ROIclikocolier" Schubert: Herbert F. Peyser Bauer was driven almost fran- handsomely illustrated, will ~hovel1 lovers will take pleasure • Only the Steinway is used by nearly all of th. nation's Bach: Herbert F. Pe"ser tic~ he tells us in his autobiog- be sent free on request. 111 the announcement that th el tions Irom Act II 01 .I leading musicians, orchestros, conselvatories, radio and raphy, by a fragment which Write to Steinway & Sons, ~ntire work is availnlle on an "Der Ro nka\'alier" are of· The New York Philhar- television stations. turned out to be frolll von Steinway Hall, 109 W. 57th Imported recording. 10st of lered 011 a Columbia LP disc. monic-Symphony, for years a Suppe's "Beautiful Galathea" Street, New York 19, N. Y. What wiser investment can you make in your the singers, who have not been ;\{usic included is lIle 'lpresel~ Sunday afternoon radio fixture. Overture. Many other musi- family's happiness? For information on prices and heard in lhis country. are ex- tatioll of the rose" scene an has decided to bring to its radi~ cians have experienced the same convenient terms, consult your local Steinway audience the same sort of pro- c~lIent. Margarete Ba umer the finale 01 Acl II. Eli"be~ difficulty. dealer. You will find his name and address listed sll1gs the title role, and Han hwarlzkopl, a, Sophie, ~n grammatic information avail- in your classified telephone directory. I To relieve these sufferers. and Sauerbaum the tenor role Irmgaarcl Seefried, 85 Ocl""n. able to concert-goers on its Car- Marches-always popular-ran' fr of incidentally to provide a u~ique Schubert to Sousa ... representi:ne . om negie Hall programs. These styles and music periods. Price 7~. vanOUB norestan_ The well-paced per- sing e.~pressi,·ely, and Lud~'l~ and worthwhile reference book See Your Music Dealer-or Write e small, inexpensive volumes are formance is conducted by Ger. Weber is sonorous and efiectw Messrs. Barlow and Morgen~ hard Pflueger, and the orchestra as Baron Ochs. Otto Ackerman' the result. Each contains a brief ISTEINWAY THE WILLIS MUSIC biography of the composer and co. an~ ~horus are those of the conducts the Vienaa philhar- CONTINUED ON NEXT PAGE 124 East Fourth Street Cincinnati If.W.~YCR • 2, Ohio LeIpZig Radio. monic. IMMORTALS ETUDE-APRIL 1951 7 6 ErUDE-.~PRiL 19;1 I L MVS'C LOVER'S BOOKSIlf:Lf/ (Continued [roni Page 7) stern have· catalogued some is the fact that Ire hal'e for. 8.000 vocal themes of all sorts. gotten the music they kneil- I Works found here range from w len they were boys. The new "I Hear You Calling Me" to anthology is a valuabl . d e ~ Rodolfo's Narrative in "La Bo- mill er. There is, for examI heme." Composers span many a clear anticipation of leI' P'I· ' "C ore. Let ... centuries, beginning with Rich- Io s atalogue" Aria Iron ard The Lion-Hearted (1157- "Don Giovanni," in l 1199), who is represented by Blonde, Bald die BrauneII f I rom EXQUISITE his "Ja nun hons pr is," and a forgott~n opera by Johann • ending with such contempo- dam Hiller. The "SthlaRio! raries as Hindemith and Wil- des turrnwald" by Karl Ditters crosonzc liam Walton. von Dittersdorf demonstrates BY BALDWIN A unique and useful feature that. chubert did not invent the of the book is its n ration in- I \ ICC (portraying agitation dex. ]f one can rem mb r a by mans of rapidly repeated gIve them this tune but not it title, IlC simi ly eighth-n t in the treble and transposes the tun to Maj r , til wise passages in the bass. wl~ole new, looks in the back of th b k nd th four examplesof a and locates titl and . mpos r ·h ml prelud, a treated Ol'er wonderful world instantly. the cour of a hundred rears Altogether the I k is a use- by nmu I heidi, Dietrich ful companion-pi ce 10 th die- B",t hude, Johann Pachelbcl As your children learn the first simJ>le tionary of instrumental music and J. . Bach, i a graphic melodie6~111:18ic:d world of music comes which the am auth rs com- demonstrnti n of evolvingcon, to life undc-;' their e,lgcr lingers, ,I wOlld piled four year ng. trapuntal technique. COIII· for them to heep and treasure .111 their lives. Cronm Pub/i. her." 5 In tl1 e days when our 1)0 r are preoccupied with Time Il1d time ,Igain, they'll tll'lllk you for Hiator-ieu! Anthology or fu.,.i .. eiginality" at all costs, it their Acrosomc. Edited by Arct.Umtd T. D(,,·i.oll might n t be ami to note how Va Iter Poole (standing) and other Detroit Little Symphony men listen glumly as clarinetist-manager Rosen outlines prospects. Every Acrosome PIlllO has the [amoua (HilI Willi A/leI lilt I the great rna tcrs werepre· "full.6Io\v" action, the big tone md be:lu- This i the con I and final OC 'UI ied with originality for its volume of the "IIi tor! 1'1 n- 0\\ n sake, and how much 01 thology" prepar d by Dr. Oavi. their cr ative output took the son and Dr. Ape!. and 'ontinu rorm f borrowing and refining • the survey from the early 1-th Ih work o( earlier composers, cenlury lo the nd of th 18th. lIarvard nh'ers;Jy Pressl 10 DILEMMA in DETROIT The editors' aim i to pr s:ent music which is not ea ily n cc . The lory or an Orf:heslra sjble elsewhere. Thus the pres- By Boyd Neel ent volume include only a sin. In 1932 a busy general . . . . Survivors of the Detroit Symphony violist and assistant conductor Valter Poole, and other out- gle work of J. S. Bach, and none practitioner in London with a standing players, who refused to let the Detroit Symphony die. of Handel; but there is a ri h flair (or music was told b~' support themselves with odd jobs and look Unable to finance a full-scale symphony orchestra, they re- variety of compositions by their fri nd thal he should lake up organized as the Detroit Little Symphony. Their grit and de- obscure contemporarie and mus; professionally. The Bard for a successor to Sponsor Henry Reichhold votion, and the loyalty of their ticket-buying public, have predecessors-Giovanni Maria eel Orchestra was the result. kept the Little Symphony going ever since. Trabaci, Johann Hermann which shortly became famous Clarinetist Bernard Rosen doubles as the Little Symphony's Schein, Manuel Rodrigues Coel. in England and later touredin business manager and press agent. His apartment serves as ho, Henry Lawes, Andrea Ham- ustralia and 1 ew Zealand.Mr, By SAUL H. SHIEFMAN the group's office. Wives and friends of musicians take care merschmidt and others. Neel here lell the story of the of the typing. mailing and bookkeeping. The result is an absorbing orch lra' beginnings, on a Before their first concert, members of the Little Symphony survey of music written before apital 01 I tban 100, it, THIS MOMENT, Detroit is the only U. S. city with a went to their tough union, the American Federation of Mu- tl.le 19th-century Romantic pe. early slruggl and el'entunl big·league baseball team that does not also have a full- sicians, demanded and got a flat rate per concert so they nod. A SOurce of perplexit in triumph. The foreword is b)' size symphony orchestra. regard to Mozart, Haydu i\ could rehearse as often as they pleased. As a consequence the Bee- Benjamin Britten. thoven. Schubert and Schumann fIox .1ll1ndi, 2.50 The Detroit Symphony expired in 1949, after a six-year concerts have been an artistic triumph but the players have feud involving Conductor Karl Krueger, millionaire chemist wound up owing themselves money. Though the Little Sym- Henry H. Reichhold, financial mainstay of the orchestra, De- phony invariably sells out, no orchestra, large or small, can ------troit's newspapers, and orchestra men themselves. support itself from ticket sales alone. Please send my free copy of "Planning for the Tn,s iUONTn's COVER. When the orchestra went under, Illost of its players drifted Little Symphony musicians hope for better times, and mean- Future." THE BALDWIN PIANO COMPANY away to engagements in theatre pits and night clubs, recording while support themselves as best they can. One of the country's Dept. ET.4, CINCINNATI 2, O.HIO Name-, __ ,- _ jobs, or positions with other symphonies. finest oboists manages a roofing and siding business. A dis- James Tamburilli (right), Detroit," p. 9). Baldwin. Acrosonic Left behind were 30 determined musicians, including first tinguished flutist repairs instruments in his tiny hotel room. Hamilton & Howard Pianos trumpeter of Lbe Detroit Little Luck a former double·ba~ Address'_· -'---, _ , .e dwindling. Detroit's critics wrote stinging reviews of the or- founding. LiLtI ymphony III ml r hope one of die birthday chestra's performance. events will be a on 'crt ri 8 uud r on internationally famed The blow-up came in April, 1949, when Georges Miquelle, conductor. The sizht of Iroil's musi inns peforming undera famous first cellist of the Detroit Symphony, was charged with great condu 'lor may b a pr III I I th r birth of the Detroit apologizing to a visiting soloist for the orchestra's shoddy Symphony. Thus th Lilli ymph 0l' faith in Detroit may playing, and was fired on the spot. be finally vindicet L TIIF. no Little Symphony has no conductor. First violist Poole (standing) is musical coach. He was associate conductor under Krueger. How Detroit ployers moke ends meet· Flutist Otto Kr . :. ueger Douglos Morsh, cellist, dis ploys his brush solesmon's kit to od- While strings reheorse (bockground), Little Symphony wives ond (no relation to former conductor) repairs rnusicol instruments. Bassoonist H h C t ,t ug ooper, shown demonstrating rump, friends do paperwork. Man in mouton collar is buying tickets. clerks in a music store. Cellist Ray Hall is a portrait painter. miring violinist Jack Boesen and percussionist Arthur Cooper. 10 11 ETUDE-APRIL 19;1 ETUDE-APRIL 1951 b d A"YONE WHOPLAYSa mu,icalin. poser's style, and no one could hope to These were and are the fundamental terlstic short accent on the first syllahle. strument should, In my opinio, , maKeL achieve individual style until he had teachings of Zoltan Kodaly. Other Europeans and Americans usual- the study of composition an integral mastered the styles of other composers After I left Hungary I saw him thrice ly misplace this accent by holding the first note too long. The result is a dis- part of his education, Once he unde-. in all periods, from Palestrina to again, once in Budapest, once in London torted interpretation. stands how a work is created his I'nIer- Scriabin and Ravel. and once in Dallas where he was guest- conducting. He is now president of the pretat.ion as a performer of almostany Composition under Kodaly was taught composition will be far more searchina as a main course, and not as an auxil- Academy of Sciences in Budapest, not As a teacher, Kodaly was one of the and more nearly as the composerin~ iary one. We delved into the writings of writing or teaching music, but studying most laconic I've ever met. He's mel- tended it. the greats of the past: we studied what the Hungarian folklore and literature to lowed a bit with age and grown a little In my own playing I have foundin. they wrote and tried to master their which he and his colleague, Bela Bartok, softer. He seldom said a complete sen- \ aluablc the early training I receired styles as completely as possible. We all devoted themselves. tence and when he spoke it was biting from one of the greatest li\tingCom. entered the class cocky and self-assured. From 1906 until Bartok's death in and to the point. His memory is fantas- po er , Zoltan Kodaly. I tudied compo. thinking we were good composers, and 1945, Kodaly and Bartok lived in Buda- tic; it is my belief that he remembers siti n with Kodaly for five years,from gradually we realized we had been pest and collaborated in collecting be- every composition he has ever seen, not only of the masters, but of everyone who 1929 to 1934, nt th Budapest COllserva. writing in someone else's style. tween 3,000 and 4,000 Hungarian na- studied with him in the past 40 year~. tory. I w'as ne of a class of 10 who Music, Kodaly taught, is basically a tional melodies. Most of these are still I have seen him read a score, listen to stnrted with the mast r and one of fil'e formalistic art. It is the form that in manuscript form, although some were published as "Bartok-Kodaly" arrange- someone play the piano, correct mistakes who finished the five-year term. I did counts and what is done with the funda- mental musical idea. Anyone can write ments. Since Bartok's death, Kodaly's on a blackboard and dictate at the same 1101 \\ ant 10 be 8 cmposcr but J did a melody but a symphony or mass re- interest in preserving Hungarian folk- time. He is thin, of medium height with \\ ant to fin lout how masters, whose quires skill. Kodaly frequently used lore has increased to the extent that it deep-set eyes, long hair and a pointed \\ orks T \\ as pia ing, had put their Beethoven's Fifth Symphony as an ex- has almost crowded out his interest in beard. When he was past 50 he took up r-omposhion« together. ample. The first four notes which open composing his own works. ice skating and became an excellent the initial theme could have been writ- Kodaly has never been a good pian ist, figure skater. He is one of the most Knrlft/y' me/hod of teachingcom. ten by anyone, but it took genius and in the professional sense of the word, brilliant men I ever met, speaking a pusition diflerc I fr III that of anyother skill to develop those four notes into the but he is a good conductor. I do recall dozen languages and well-read in all. r-outposer 1\ mel. Fir t of all, he did structure of this great symphony. his statements on the erroneous inter- Indicative of the intense musical- 1I0t seck to turn ut cmposers in as- Most modern composers elaborate on pretation of some of his works for piano ity of the man was his reaction to a -cmbly-liuc fashion. Through building one or sometimes only part of one of and orchestra. He pointed out to me the recital I gave in Budapest wher. I was u sound kn wl dg of earlier composers the elements which make up music- failure of western interpreters in realiz- 18. I played the Liszt B Minor Sonata un I their ompositions, he soughtto melody, harmony and rhythm-and fail ing that his own compositions and other and lost a chord somewhere along the eliminate imp rfection in the music to recognize that the other basic factors typical Hungarian music have a charac- way. Kodaly's (Continued on Page 61) \, C \\ rote. J lnrm Il)r. ounterpoint and me just as essential. Because these (..h ral writing occupied much of our composers seek to avoid the traditional Kodaly photographed his friend Bela Bartok (Jeft center), with whom he collaborated time. C onc ntrated on vocalcom technique of developing their musical in collecting Hungarian melodies. recordinlJ folk-sinlJing in 1910 in a Transylvania town t rpoint \\ hile we \fcnt through the ideas, they sometimes take a short motif, various mu~i al forms. We spentthree keep on repeating it over and over and Zolfan Kodaly YC<1r p) ing ul til two and three then modify it slightly. The public's part motets of Palestrina. relief when the initial theme has been E\ ery rear we had an examination discarded is sometimes so great that \\ !lich concluded indh'iduaJ phasesof it f1ctually believes a new theme has the cou rse. hen we finished, we felt been introduced we should just b starting to studythat parti ular subject) so cnormouSdid its 1110st of tOllay's composers are Zoltan Kodaly difficulties and manifold forms appear afraid to write a melody. Hence the lo us. Kodaly took lor granled that main characteristic of modern music is at this point we kllC\\' ornethingof the dissonance, the result of searching for different forms. so he did not tell us cacophonous intervals or sonorities was my teacher how to \\ rile a rondo. for instance.He which are meant to give the impression would say, "Bril1g me a few rondos.:' of being new and different. Occasionally We \\ ould do so. and then he wouldtaXe a modern composer will put in a banal our compOSlllOns apart and showus melody, a copy of a romantic tune, and By GYORGY SANDOR wbere \\ e had failed. This was a nega· we are so relieved to find melody at all tive approach. but it developed in us an among Lhe dissonance that we welcome ability to analyze our O\\ll and other it as new and fine. composers) creations. Needless to say, melody, harmony Creath-e talent which can produce and rhythm must not be used hap.haz- lasling works_ Kodaly told us, is a coOl' ardl)' but they must follow the same bination of gelliu and acquired crafli' basic principals that existed in classical manship. Kodaly' idea was tllat e\·ery· and pre-classical music. One ~hould be able to write in any COOl' 12 ETUDE-APRIL 1951 13 ETUDE-APRIL 19'\ h d How to Teacll Adult Beginners Music has no short-cuts They pose many problems not ing was stiff and unmusical. Yet to drama. • • • • • tize the music with visual imagerywould encountered with younger pupils, but teaching have made her self-conscious. She would have felt rather silly if asked to thinkof • • • • Solid careers emerge them is certain to be a fascinating experience flying bird, say. in a rapid arpeggiated pa age. Liule andre, on the other hand. only from unhurried, systematic training ha I k n imagination and would ha\'~ be n (a .inat d by such an idea. By R. M. GOODBROD Adult ft n hale difficulty in memoriz- ing if they lire not in a business or pro- By JOSEPH FUCHS f ssi n \\ hi h demands memory. All a As told to Rose Heylbu.t skill d auto mechaui 1 had better control R. WARREN is a successful practi- mean learning to play like Horowitz; but or his finger1'l than most grownups, but tioner in our town, Whatever he almost anyone can with patience acquir eould hardly memorize f ur measures. D does, he does well. He plays an ex- sufficient musical skill to compen ate in fair left-hand technique and an expressive whi]e j immy. who had to learn something HE YOUNG VIOLINJST-S greatest need Today, it is, alas, not uncommon to cut celJent game of golf, and his flowers have enjoyment for the time and effort spent I'\('r) (In) a~part of his fifth-grade school- today is for something he cannot corners. After Rode, students often want how, you can produce a beautiful phrase. won prizes at the county fair. When he acquiring it.I work. memorized rapiflly nnd accurately. Trush off to acquire in three months' to go straight into Paganini-and then on With colorless bowing, it is virtually .im- asked me if I would take him as a piano However, adult beginners do constitute Thus teaching nduhs is a challenging practicing. to a recital. They like to learn the one or possible to bring out a beautiful phrase no pupil, explaining that "he had been telling a special problem for the teacher. In some nsslgrunem (or ETUDE-APRIL 1951 15 ETUDE-APRIL 1951 14 _ l__ t ,------~~ IT'S FREE ••• IT'S FUN ... "I LoVE MUSIC .Jr(ore about the BUT It's Forum! I DON'T UNDERSTAND IT" PHARYNGEAL VOICE* A widely-used method III the golden days of Italian Bel Canto A sprightly get-together introduces Knoxville ???o • audiences to their symphony orchestra and tells what orchestral music is all about By E. HERBERT·CAESARI bUL of a pale, insignificant, breathy sort, and quite anaemic. NOXVILLE, TENNESSEE, was proud A COROLLARY to my article on "ThePhnryngeal Voice" The falsetto mechanism is set in motion with little breath of its symphony orchestra. Mem- in the November 1950 issue of ETUDE I now pro- and a barely appreciable tension. Little will is needed. In K bel'S of the orchestra's board of A pose to explain, as clearly as is possible with such a other words, the singer does not deliberately seek, nor does directors were eager to get maximum at- complex subject, how the three mechanisms comprising the he feel, any definite resistance to the slight breath pressure tendance at concerts, and also to make sure vocal cord system can be engaged isolatedly at will, how any he is exerting. Indeed, he can barely feel any resistance that listeners enjoyed the music. two or all three mechanisms can be employed simultane- Many in the Knoxville audience, how- ously, and what sensations peculiar to each mechanism the because the cords, now in oval formation, permit a consid- ever, were hearing concerts for the first singer should experience when they are correctly engaged. erable escape of breath, as explained above. If, however, we mix this wishy-washy sound with even a small percentage time. They were perplexed by the learned First, however, I would advise the student to re-read the of pharyngeal voice, we get a mixed tone really worth while. technicalities of musical form and the un- aforesaid article by way of a refresher for what follows. intelligible French and Italian expressions Next picture the three mechanisms-falsetto, pharyngeal, The falsetto, therefore, has some importance, for it acts as a that appeared on symphony programs. and basic or so-called chest voice-as three horizontal viln-a- softening carpet to the somewhat steely quality of the Dr. George L. Inge, one of the moving tory layers superimposed, three depths of vocal cord. The pharyngeal mechanism, particularly in male voices. The forces of the orchestra, asked: "Why not falsetto has less depth than the pharyngeal, and the latter falsetto is best produced with the AH and the open EH have a forum, explain to people what sym- very·much less depth than the basic or normal mechanism. vowels, with mouth well open; the resultant tonal sensation phonic musk is all about? We can stress To illustrate: the falsetto has, say, the depth (thickness) of ' is very high in the head and apparently cre~ted there. the idea that we're all learn! ng together." one visiting card, the pharyngeal of two cards, and the basic Members of the orchestra's board of di- of five cards. Which goes to show that the basic mechanism To engage the second-layer mechanism, responsible for rec tors thought it was a good suggestion. producing the normal voice has considerably more depth the so-called pharyngeal voice, the cords come together So did Conductor David Van Vacror, who than the other two. leaving only a thin slit, the thin upper edges only being engaged. To gear in this mechanism by itself, the singer offered to help" The falsetto, or uppermost layer, is generated JI~ the A sprightly booklet (right) told what thread-like upper edges of the vocal cords which, in order should employ a very narrow or closed eh. vowel (as in pen) the forum was all about. Meetings were to produce this washy sound, separate much more than is and, with very little breath: produce a series of short staccato scheduled for Sunday afternoons, once a the case for the production of either the pharyngeal or tones, making no attempt to produce a big tone, but just a month. Guest lectures briefed audiences normal tone. Consequently, during falsetto a much greater thin. compressed, bright little tone like a taut silver thread. on what to expect at the forthcoming con- quantity of breath is expended, in that not all of it is em- Let the tenor experiment Oil, say, high A flat or A natural, cert. Conductor Van Vactor lectured both ployed in producing tone (as is, or should be, the case with and the soprano, mezzo, or contralto 011, say, A or C (second as conductor and composer. Piano soloist normal and also pharyngeal tone) but escapes through the and third spaces). This bright: thread-like tone offers poei- Alfred Schmied discussed "Our Orchestra relatively big slit, thereby diluting the tonal product. The tive 'resistance and gives the singer a feeling of flexible with the Piano." Concertmaster \ViIliam Old Italian School used to call it Falseuino di testa (vfalse firmness (not stiffness). Starr appeared as violin soloist. John Teg- little head voice") because, as a sensation, it seems to be To produce this narrow eft sound with which to seek nell demonstrated an aria, and with his generated high up in the head cavities. It is a "head" "Dice. out and engage the pharyngeal, the mouth should not be University of Tennessee Chorus gave a opened wide but kept to a horizontal slot-like shape. It preview of Bach's "Christmas Oratorio," is a peculiar little sound: when produced in this way, later done by the orchestra and chorus. something akin to that of a "penny trumpet." The ex- ponents of the Old Italian School called it "old woman's Forum meetings, which began last fall, * Since JUr. Herbert-Caesari's article, "The Pharyngeal cackle." went over so well that they will probably Voice," appeared in the November, 1950, ETUDE, many Once the singer feels he has found and isolated this be repeated next season. All concerned readers have tvri.tten in to ask for further iniornuition agree the forum idea is a pleasant and mechanism both from the falsetto and the normal voice, let on the subject. This article is the result. In addu.ion, painless way to introduce a symphony him "push into it" a little more to feel his way and see how Mr. Herbert-Caesar;' has offered to explain by personal orchestra to its listeners, and to prepare Sfte Pb ystep'dt.he Knodxvillepamphlet tells what makes an orchestra lick. Laler sessions it responds to a spot of crescendo. This slight crescendo a t ehFarum rscusse the aria th t her musi d II The letter any aspect of the subject which readers find puz- listeners for what they are to hear. THE END · h Id S d • e concer 0, ot er musicc! forms Jorge on sma. pressing must be made with a downward thought: light, mee tlOgS, e one un oy ft h di a ernoon a mont I drew a Jorge and attentive au lence. zling. Queries m.ay be addressed to him in care 0/ firm, never heavy or rough. As with pen or pencil the ETUDE, Bryn 1I1uwr, Penna. downward thought accompanying (Continued on Page 481 I 16 ETUDE-APRil, 1951 ETUDE-APRIL 1951 17 ~---- t $ Classpiano teaching we go about things in a more dignified manner. \,Te start by playing a game called c . gets results "You-uame-and-you-get-it." Even after lhq know the keyboard backwards it's vel') hard to get them off the game because they like making a score and trying to be win. • • • • A successjid. teacher reveals the [ormula ncr. In order to progress into new class activities we call on the parents' coopers. she has developed through years of trial and error rion, asking them to play the game with their children at home. At this first le s n I distribute beginner books to c\ cry child, and to keep Ill)' OWIl By ESTHER RENNICK intere t alive I use different books with each class. B for Our cond class meeting Through. systematic practice ea ·h I upil ha received a private lesson so - that he is ready to play with other pupils. and use of correct basic principles In class, then, four students sit in pairs at OR TEN YEARS my weekly teaching social experience. A child becomes a good the tw o pianos. While onc student at each you can master the "singing tone" schedule has included one private accompanist by accompanying; he learns piano plays, his keyboard partner points charact eristic of the greatest pianists By MARY BOXALL BOYD Flesson and one class lesson for each to play ensemble by playing with others. for him lind watche for \\rollg fingerings. pupil. Occasionally I've wondered it I could When a pupil begins the study of music From this tim 11 the iurriculum Illa} he right when every teacher of my acquaint- his teacher has three responsibilities. First: develop alona any lin the teacher' imago ance was advancing arguments against The pupil must enjoy his lessons. Since he inatiou suggests. And it's always a good r THE I'BESEj\'~' TDIE, pianu pia) inr a blank wall of frustration, Lobe re-iuspired Continue practicing in this manner until class teaching, or refusing even to discuss already loves music, we must guard against idea to invi t th suggestions and help of has been raised to a plane of me- and put on the proper track again simple you have mastered the playing of a single it. making him dislike it by distasteful instruc- 1110readvanced stud nts, extending pecial chanical perfection never known through an understanding of this phase of full. sonorous tone. Then see if you can For my part, I thoroughly enjoyed both tion, attitudes, materials and methods. The A t invitations to backward !l-age pupils. before. Among public performers: virtuos- piano study. acquire a crescendo and diminuendo 011 kinds of teaching, my pupils loved class cultivation of his taste is a process of Their help with b ginner classes works ity is taken for granted. Yet it often appears The basic skill needed for a singing one note. Continue with the third finger activities, parents were warm in their ap- growth, not a quick change-over. mirnclcs toward improving their own self- that having developed a formidable tech- piano-tone is simple, and can be readily on E. Play the first tone as softly as pos· proval, and the results I was getting were Second: His foundation must be laid confidence. • nique, taday's performer has nothing to understood. Mastering it is merely a mat- sible. Then repeat it with a barely per- for the most part wonderfully satisfying. slowly and sturdily. It must not only be say with it. ter of systematic practice, using correct ceptible increase in volume. See how man} Yet there were, inevitably, periods of dis- pianistically sound, but must be able to Duriu!! 'he first months in beginuer " Much of the uninteresting piano playing basic principles. gradations of tone you can create between couragement when it seemed foolish to support him in any field of music he chooses classes pupils take turns clapping rhythms. we hear today is the result of teaching that The first step is to assume the correct your softest pianissimo and your most stress the class-piano method when virtually to enter. It must be adequate to enable him !=oinging_ and supplying a rhythm band, iznores the "sineins tone." Skeptics have hand-position. The hand should be held in thunderous fortissimo. Try to increase the the entire teaching profession seemed dead to use his music as a hobby, a social asset, o ~ ~ while others play the piano. \Ve draw even doubted that such a thing exists, main- the shape of a vault, with the knuckles at number of gradations, and the range of against it. or as relaxation when he becomes a dentist musical signs on the board and on theory taininrr it makes no difference whether the its highest point. The fingers, relaxed and dynamics also. In this way you will Iw Today, however, class piano teaching, is or a president. e paprrs. play games with flash-cards, musi- keys are struck by a pianist's finger or the slightly curved, rest on five consecutive able to provide all the shades of nuance. no longer in the experimental stage. It has Third: His lessons must fit in with his cal checkers and such. notes-Middle C, D, E, F, and G. The been tested thoroughly in the public school other activities as to content, methods, and end of a broomstick. Each child has a set of theory papers wrist is held low, parallel to the keyboard. When. the third finger has run the curriculum. And we don't have to read material. They must offer him something Theodore Leechetizeky , greatest piano with key boards to color, signs to d.raw,and The muscles of the wrist should remain gamut from pianissimo to fortissimo, and books of psychology to learn that children rather than constitute a threat or a promise teacher of the 19th century, took just the notes under which to print. A simple book flexible. The arm should be held in a sus- back again, proceed to the forefinger and and young people love to work and play that he will be either glad or sorry he din opposite viewpoint about the "singing tone" of familiar songs and a duet book are pended position, ,!way from the body. practice with it in the same way; then to together. We know how much they enjoy or didn't practice twenty years from now. in piano playing. As a result there came added \"cry SOOI1. As soon as the pupils There should be no stiffness ill the arm the fourth finger, the fifth finger, and games, competition, companionship, and As a word is the carving and color of a from his studio such virtuoso performers learn 10 play double duets together, the position; nor should it dangle from the finally the thumb. an audience of their own contemporaries. thought, our vocabulary should be chosen as Paderewski, Gabrilowitsch, Hambourg, morale of the das hits the .ceiling. Also shoulder like a flabby dead·weight. Durinu aU these exercises. neither the Class work provides all these things, which with great care. The words "practice and Schnabel, Leginska and Bloomfield-Zeisler. ~ . the leacher's troubles begin. Pupils want to Now consider the instrument before you finlYers nor thumb should leave the keys. in turn makes it an easy and pleasant way work hard" should be used sparingly with Their playing was polished and technically ~ do nOlhing but play duets together. solely as a medium for expressing beautiful Each finger should glide in and out over to teach rhythm, accompanying, ensemble, children. "Play at the pjano; make ready brilliant; but it was, abo\'c all else, ex- r let Ulem_ But anoUler teacher might tone quality. Begin with the third finger the surface of the key to prepare for a sight-reading, key-signatures, scales, chords, for fun in class" works 1U0re effectivelv_ pressive. feel duets are a waste of time, and so prefer on E. Sound the tone by a slight upward new stroke. Gradually the fingertip will ear-training, memorizing, music appreci- When we fit our vocabulary to that of o~r to substitute a talent program witl] each movement of the wrist, followed by a barely become more sensitive to the surface or ation, and preparation for the pupil's rep- student we may expect to be rewarded by I once heal"ll a series of operatic tran- child playing whatever he has learned, in- the key, and thereby will become more ertoire classes when he becomes an artist hearing, "You seem just like one of us_" scriptions pia) ed by a Leschetizsky pupil. perceptible sliding of the finger on the key. cluding tunes for other class members to pupil. He played the arias with a tone so sonorous In this manner the tone is set in vibration. elastic and more obedient to the player's At the beginning of each new season I sing. Or pupils may be easily distracted start my beginners in classes of four. As and expressive that one listener exclaimed: ~lhen the tone is sounded, relax the pres- requirements. from their ensemble fever by ~le rhythm Group work also provides a proving they stand or sit at the keyboard we learn "He does with his fingers what many sing- sure of your finger on the key, but do not Check constantly to be sure that the band, a new card game, an ear drill. ground for creative expression of musical the keys by the "two-car-three-car-O"aracre" ers fail to do with their voices." release it entirely. Sustain its vibration position of hand, wrist and arm are conect. ~ ~ As soon as the classes are on sure foot· thought and feeling-something which is game. We call D the sandwich note and B It is a fascinating and rewarding pro- IOl1fF~enourrh~ to carryover to the-next tone free of stiffness and tension: yet free of jng--one to three months-I djvide and very necessary 1£ music is to he a valuable the stinging note. But with older pupils, cedure to learn to sing with your fingers. played. After the tone is released, the flabbiness. in SOme cases (Continued on Page 61) I have known many students, up against hand should return to its original position. When the right (Continued on Page 51) 18 ETUDE-APRIL 1951 ETUDE-APRIL 1951 19 _L t ~~~---- .~--- - .~~ -, +- ~ -~~ .. jtlUSIC IS ii'll' HOBBY their chamber was a mere eight feet three inches high it was In September of 1949 Hunter Mead obtained anotber and necessary either to rip out the ceiling or remove the floor still larger organ, built in 1886 and now discarded from a and excavate. The latter proved to be the only answer, for it neighboring church. Again his back lawn, garage, attic and was necessary also to provide a stronger foundation for the cellar went into salvage service-a veritable mine of equipment heavy pipes, as well as adequate thermal and sound insulation. for experimenting with tonal effects and enlarging the resources The floor was two feet above ground, which with the eight- of his instrument. Parts he obviously could not use he sold to foot room totaled ten. So with pick and shovel the men dug churches and to fellow hobby enthusiasts. a three-foot-deep pit, the width and length of the room (11' X 14'), pushing twelve tons of earth in wheel barrows up CTUALLY it would probably h.ave bee~l easie~ to build: new a steel ramp and out a window two feet above the old floor level. . A organ. But the process of uitegratmg relics of 190 ( and For their slab and sidewalls they shoveled sand and cement 1886 together with required new parts saved Hunter Mead into a mixer. More than eight tons of the mixture went in hundreds of dollars. Furthermore, the problems he faced as- by the same window through which the,dirt had come out. To sumed the invigorating aspect of challenge. Meeting them, Dr. dry it they boarded up the windows and covered them with felt Mead experienced a glow of satisfaction. Like clay in the for insulation. Next they lined the cemented surfaces with pine potter's hand, a scrap heap had been shaped into an instru- planks backed with felt. After a month of arduous labor they ment that brings forth dulcet music. had an organ chamber that rates A-I for both thermal and After this new experience, too, both faculty and students at IN HIS HOUSE sound insulation. the California. Institute of Technology regarded Dr. Mead as Installation of the organ proved to be not quite so simple more than a teacher. He had become a builder, meriting a new as merely putting the old parts together again. Aiter all, kind of respect. Hunter Mead couldn't sacrifice completely his dream of a new Most recently, Dr. Mead and one of his loyal crew, Raymond organ. His goal of an up-to-date organ called for SOUlerenova- Durant, have been remodeling the front of the Mead house to With parts salvaged from tions 011 the 1907 relic. He and his friends, therefore, modern- make use of the porch, where they plan to install 600 to 800 ized most of the action, employing electricity where the initial additional pipes. Eventually this will call for a new console with - ' discarded p~pe organs, a psychology builder had used pneumatic tubes and pouches. They retained a three-manual keyboard. (The present console has two man- the original pipework, merely rearranging it to make the uals.) And there are other plans. Dr. Mead admits, however, that a seven-room bungalow does have its limits. THE END professor builds a modern in- instrument conform to the best current tonal thinking. strttmenr EIGHBOns of 4.3·year-oldDr. Hunter Mead~ professor of bedroom in his new home into a chamber for organ pipes, and Psychology and Philosophy at California Institute had begun planning how he would arrange his organ console N of Technology, good-naturedly comment as they look in his 15 by 30-footliving room. over toward his Pasadena seven-room, one-story bungalow: Originally, Hunter Mead planned to save his money for "Well, there goes another wall to make r00111 for that monster!" several years and build a new organ. But his program changed "That monster" is a pipe organ built by Dr. Mead. To date when in June of 1949 he learned that a nearby church was it numbers 1050 pipes. In addition there are in the Mead attic trying to dispose of its 1907 organ for a mere 1200. After 1200 second- hand pipes, in the garage 300 and in the cellar completing the purchase he had only 100 left in the hank. another 30Cl--making a stockpile of 1800 from which Dr. Even worse, a condition of the sale was that the organ must Mead will augment his ever-growing hobby. be dismantled and removed immediately. This home-built organ represents a 29-year-old dream come With the help of a crew of fellow organ-addicts and curious true. Hunter Mead was only 14 years old when he first envi .. friends, utilizing a trailer and an auto rumble seat, Dr. Mead sioned a pipe organ built into his own home so that when carried away the thousand pipes and several thousand pounds the mood came upon him he could sit down and play to his of chests and blowing equipment-all in three days. Almost soul's content. He hnd started piano lessons at the age of six overnight his back lawn and garage took on the appearance I and at 14 had turned to organ lessons. It was too much for a of a salvage business. II young man bent on a Ph.D. degree to consider the expense of As he pawed through the several tons of equipment and con- ! building his own organ immediately, so he set the idea aside templated putting the parts together, he was faced with a and went ahead paying for practice time on various church myriad of questions his previous reading left unanswered. A organs. I professional organ builder, 27.year-old ex-Gl Marvin Blake, But he could dream. And occasionally he substituted at came to his rescue along with Robert Humphreys, a photog- funerals and weddings, making a few extra dollars from his rapher who had made electrical work his hobby, and Raymond I avocation. Durant, who is in the department store display business and In 1947 Hunter Mead bought a house. His choice didn't makes carpentry his avocation. These and other friends who hinge on the size of the closets, the nature of the kitchen fa- have devoted an occasional week-end to the job made the Mead cilities or the number of bedroom windows. A cursory glance home look like a boarding house, for they all joined around showed that they were adequate for bachelor's quarters. His de- Hunter Mead's table at mealtimes. cision was governed by the organ potentialities of the house. .~o beg~l with, Dr. Mead learned that the pipes required a It. wasn't long before Hunter Mead had converted the extra ceiling height of 13 feet, and as the room he had planned for Dr. Hunter Mead carefully fits into place one of the 1050 pipes 1800 pipes stored in attic, garage and cellar, which will be add- of his home-built organ (left). He still has a stockpile of some ed to the instrument after he has finished rebuilding his home. 20 ETUDE-APRIL 1951 ETUDE-APRIL 1951 21 J ~~~~=~~~~~~!!!!!l~~!'!'!""'!!!'~~!!!!!!!!!!~="""""'=~---~-""'< __ ------~-- BAND AND CHORA.L SINGING ORCHESTRA DEPARTUEII'T Comluctetl by William D. RerJelli SOME YEARS AGO, when my eldest grandchild was two years old, at the grand- parents.showing-hill1.o.ff-stage~ we used to THE ask him to conduct. With a grin on his face, he would wave his arms frantically The Atlanta Symphony Orchestra, in the air. Since he had observed both his most of whose 90 members are pro. father and grandfather conduct, conduct- fessional musicians, has drawn play_ ing to him was merely ann movement. I ers from Atlanta and across the U.S. am not too sure that man y of us in the conducting field do not have this same concept of conducting. However, waving the arms in the air is the least of a COil- ductcr's technique. He nurst be intelligent. Southern youth He must be poised. And he must exercise over himself, as well as over tile individuals who sing under his direction or who listen, builds a symphony orchestra absolute mastery and control. The group he directs is the choral conductor's instru· Music-making today is an expensive business. Thousands of dollars are involved ment, and there lS much to know about playing it . in a rehearsal of orchestra and choir. There .. By WINIFRED WILKINSON is no time for anything that docs not. im- mediately and quickly produce the results the conductor demands. HoI\' much truth is By JOHN FINLEY WILLIAMSON embodied in a statement Sergei Kousse- vitzky recorded in the NEW YORK TIl\IES some ten years ago: "The conductor must be a professional athlete, H professional cept of the conductor. Too often conduc- is a result of a phrase line that conveys IN A BRIEF rOUR EA ONS the Atlanta Symphony tors classify themselves as bad conductors, the message of the poet 'and composer to Orchestra has achieved the position f one of the 25 major actor, a good psychologist and a grout orchestral conductors or choral conductors the listener. When all these duties of the symphony orchestras in the country and the leading sym- musician" ! drill-master have been accomplished the phony in the Southeast. when in reality. regardless of the medium, they must bear the responsibility of re- conductor is ready to begin his work. But the roots of the Atlanta ympbony are firmly im- The cOIUluCLO,. must be able to stand on his feet from two to six hours a day. creating the music of the composer. At 84 It is a mistake to believe that in our bedded in the youth of the South: and the present symphony He must with his face, his hands and IIi:" years of 22 ETUDE-APRIL 1951 ETUDE-APRIL 1951 23 , ' ORGANIST'S PAGE VIOLINIST'S FORVltl Co"d"cte,zby HOTO'" Be,kle,- abundant color contrasts for accompanying the Canticles, Psalter and anthems, as well as oratorios done at this church. It is a tribute to the builder's skill that every stop counts, both individually and collectively. There is not a pipe in the organ that does not have a chance to speak and A controversial bowing The chord could be written as in Ex. D, but Six manuals be heard in the church. The warm strings you will agree, I'm sure, that if all such and clear flutes are expressive as solo stops; • chords in the study were so written it the full organ has power and brilliance. In the Bruch Concerto would be much harder to read. Not all small instruments are as well aren't essential planned and executed as this one. There Ex.!) are many two-manual instruments on which 411 H; J the builders have economized at every turn, Not long ago a friend of mine showed notes. (See Ex, 3,) with a consequent sacrifice of effectiveness. me a. copy of Bruch's'C Minor Concerto If you will keep these thoughts in mind The chord C, E, B flat, on the third There are no "inadequate Even a mediocre .instrumenr, however, can with rour markings on it. He had them, he and experiment a few times 'with the two be made to sound better by an experi- beat of your first example, could be written said, from a fanner student of yonrs ... bowings, 1 think you will agree that my enced and resourceful organist. and should he played as in Ex. E. But this I liked YOllr bowings and fingerings very bowing brings out more completely the instruments" - only inadequate organists All of us tend to get in a rut at times. much, bnt there was one bowing I did not strength inherent in the phrase. to take for granted the materials at our understand-that for the -leading phrase disposal, and to feci we might clo better in the first movement. (See Ex. 1.) Ho.., to read notatioll work if only we had a better instrument. for part-plallin" By ALEXANDER McCURDY hi such a case we might recall the old proverb, ':A bad carpenter always com- Will yon kindly tell lne how the [otioui- gives the eye a great deal more to do than plains of his tools." Instead of sighing for ing measures-s-Sv (Ex, A) and 77 (Ex, B) is required by the conventional system. a magnificent Iour-rnunuel concert model -from the 24th study of Cuoinies should The first two beats in your second exam- Why do you use this bonnug? Every with all the latest gadgets, it is perhaps be played? It seems impossible in Ex. A ple (Ex, B) should be played exactly as pertinent to ask our elves whether we are edition I have ever seen begins on the written, the half-note E being sustained SOMETIMES have a fit of plain Recently 1 had occasion to spend consid- Up bow. I know you must have a good I getting the most out of the pipe-organ Ex. A- first with the E string and then with the D. speaking when organ students complain to erable time at the console of a small two- reason Jor it, but 1 should like to know As an example of a phrase that cannot we already have. Tnt END @i' U me about the "inadequate instrument" on manual organ designed by Ernest White, what the reason is. -A. C. R.,California. : q ~~ well be wrinen as it should be played. take which circumstances compel them to prac- with the cooperation of G. Donald Harri- f the following (Ex. F) from the G minor tice. son, and built by Aeolian-Skinner. I found l\'ly feeling is that both sustained half- Fugue of Bach: Students' ideas of what constitutes an it a striking example of what can be accom- notes in the second measure must be fully PEDAL adequate instrument are apt to be on the plished despite apparently severe restric- sustained. If the phrase is begun with an grandiose side, especially if they are study- tions in size. t s: Diapason , Up bow, one cannot avoid playing the I Ji ing at a conservatory or university which In studying the specifications (see next t s: first half- note as a dotted quarter-note fol- Bourdon to sustain tlre G, the F, and the B fiat 'r has a more elaborate organ than they are column), it is at once apparent that there lowed by an eighth rest, for the four-parr 1.' flute Conique IGtl simuluineously, The F is surely the melodic accustomed to playing. There is something are no frills. AU the essentials are present, chord must certainly be taken Down bow. ,.' Lieblich Gedeekt (5 ...... line; then why are the C and B flat wriueu If this is played exactly as written, the about sitting down at the console of a big however; Mr. White has seen to that. To my mind, this break between the two Stopped Diapason I as half-notes? In Ex. B is the half-note E ear hears the melodic line as in Ex. G- four-manual organ that affects the novice Moreover, in performance the organ :is 8' half-notes detracts from the strength and Principal supposed to be sustained while aile plays which is certainly not what Bach intended. like sliding behind the wheel of a custom- more effective than rnany an instrument of the breadth of the passage. 8' Flute Ou ....erte the G and the lower E? And why is it so built Cadillac. One's own weatherbeaten much more elaborate specifications. be- I'll admit that the bowing I prefer is 8' Gedeckt (Sw. Stoppe~ many artists play the Bach Sonatas in so jalopy seems unbearably shabby thereafter. cause it is well installed. not quite so easy to perform as the other Diapason) many different ways?"-T. W., New Jersey In this Aeolian-Skinner installation, bowing. But the ultimate musical effect In. the same way, after one has played the church committee has adopted the com- must always take precedence over mere GREAT When involved in the complexities of a large, versatile instrument, it is hard to mon-sense if slightly revolutionary plan of technical ease. The difficulty in my bowing part-playing, one soon realizes what an in- settle for anything less grand. putting the organ in the church, where it 1.' Flute Conique The true melodic line can easily be brought adequate system of notation we have. This I should not be so foolish as to den y can be heard, rather than in a small room 8' Principal Diapason out if the double-stops in Ex. F are care- accounts in some measure for the varied that, all else being equal, a large pipe- where it can't be heard. The Great is 8' Bourdon fnlly played. It merely reqnires thought interpretations of the Bach Solo Sonatas: organ is better than a small one. The six- placed ill the transept itself. The Swell is 8' Gemshorn and a good control of the bow. For each there are movements in which many pas- manual Wanamaker organ is admittedly a installed in, a shallow recess along the south 8' Dulciona double-stop in the example, the bow should is only that of sharply accenting and detach- sages cannot be played exactly as written. more flexible, versatile and expressive wall of the transept, and instead of the 4' Gemshorn be slightly firmer on the lower string than ina the sixteenth note. This skill can be nor were they ever intended to be. If a real musical instrument than a parlor reed- usual shutters approximately the size of a 4' Octave o on the upper, and the upper note should attained by a very little concentrated prac- effort were made to convey in print an organ pumped by the player's feet. At the dormer window, through wl;ich the torte is be slightly shorter than the lower. In ?ther tice. exact interpretation of the G minor Fugue, same time, a student who is reduced to expected to force its way, the whole side of S W ELL words, though both notes are taken simul- While we are discussing this phrase, it for example, the result would be such a prnctioing on a three-manual or even two- the wall is taken up by the shutter open. taneously, the lower is somewhat sustained 8' Geigen Diapason might be as well to point out that the chord welter of eighth and sixteenth rests, and of manual instrument need not feel that he is iugs. The ceiling of the church is high, and while the upper is somewhat staccato. It 8' Stopped Diapason must not be broadly spread. It should not short tail.hooks, that the notes themselves underprivileged. there is ample opportunity for the pipes is an effect more easily demonstrated than 8' Viole de gambo be played as if it were written as in Ex. would be obscured. Therefore, certain con- Such students would be interested to to speak. described. 8' Viote celeste 2. The four notes must be taken as closely ventions have arisen and are observed. learn that a great many of today's most The specifications of this organ suggest A knowledge of part-playing is essential 8' Viole aetheria together as possible, sO that the sustained In the first example you quote, the B famous organists do their practicing on a Classical instrument best suited to trio for a good performance of contrapuntal 4' Flute Triangula,.e flat must actually be played sljghtly shorter small organs, electric or electronic, for the sonatas and other works of the pre-Bach Ex.S music such as the Fugues and many other 4' Pr-inc.ipal excellent reason that these instruments are masters; but in practice almost anything movements in the Sonatas and Partitas of Mixture 4 Ranks Ex.C compact, relatively low-priced, and offer an can be played on it. The organ js adequate ~V r ~ Bach, and also for many short passages 8' Oboe ~b!! • J inexhaustible variety of tonal combina- for every need of the service. There is effect may be maintained. The best way to i J in other solos. In its simplest form, which 8' T"ompette tions. They are for the mast part two- plenty of variety in the soft stops for Com- play the measure is the follo\ving, with the we have been discussing, it can be manual instruments. munion services. The instrument also offers understanding that the grace-note chord is than the F, in order that the listener should thoronghly studied in the 42nd etude of pnshed as closely as possible to the half- not hear the melodic line as in Ex_ C. Kruetzer. THE END I 24 ~------ETUDF:-APRIL 1951 ETUDE-APRIL 1951 25 5 PIANIST'S PAGE No. 430·40139 De Camptown Races This transcription of an old favorite song IS a brilliant, effect ive recital number. It is an excellent .study in chord. playing and execution of rapid passages. Be g-i nn ing WIth Measure 27, emphasize the melody, played by the nght thumb, wh il e pl ay ~ ing the upper voice as quietly and evenly as possible. Players with small hands may have difficulty WIth the big chords of the final section, which should be played as percussively as possible. Grade 5. STEPHEN FOSTER hardest and most unrewarding but look Allegro rna non tropp o (~, 152) Tra-n.scribe d: by Elinor Remick 1'Varn Adventures out also for all the others, even the less >- pr-etentious ones like those by Gruenfeld. It • _I I I I I. S. I I I I I, ~ ~ /123' The secret of playing such paraphrases I of a piano teacher and transcriptions effectively and alluringl}' ill , is never to lose the basic waltz swing and tune. Change the overall waltz speeds as TI.J I PART THREE little as possible by holding on to the same tempo as long as you can, in spite of 1 • I ornamentation and flamboyance. (Most Ped. ad lib. >- "concert" waltzes arc far too fluffed up, any. >- 1 ';';: 1 'C\ I • • • • • Let Toscanini suig with the U A crisply >- >- ~ >- how.) If members of the audience can al- ways hear the waltz theme and feel the lift, music-Pianists should stick to piano-playing I I lilt and dip of the rhythm they will love I T I..:l ... J-I =- It.r1C your waltzes. Otherwise they will prefer ]) staccato : 1:151 "11 A A A A =-- ~ ~ , ~ ~ ~~~~ b;~ f X ~ them in their unadorned form. : By GUY MAIER Years ago in Berlin, Vladimir Horowitz !' " I 1 discovered on my piano a simple unarrangcd -.: ''-If'- 'T.q'7 b1fr' ~;;IE: a tempo potpourri of waltzes from trau s' "Rosen- , kavalier", which T planned to turn into one 3 ;;;; ~., I _ ,., >- I ~ - ..J 3JmJ:i:D of these "concert transcription" desecra- " u I~ ~_---:. STUDENTS SHOULD BE CAUTIONED close to me, and in a deep, hesitant voice >~~>'1. , , not to sing or hum as they practice. It's a began, "Pa'don me suh, but are you the tions. "But they are so perfect as they are!" I .... I bad habit; for, no matter how relaxed they mewsic man that played last night?" I said Horowitz as he 10 ked them over. "If It /T~ I 1r1.II I~ I ~ t -I vr, F ,up 'I I were to play the e in public I would not ~"n~rur TID -= may seem to be, this sets up an unconsci- grunted. "Ah just wanted to talk with you I1J 'j =- .P poco rit . quietly ous tenseness-two sets of sensitive mus- a little," he continued shyly. "Ah's studyin' change or add a single note." S I~ .- , b~ ;-rl That prevented me Irom mutilating these .. cles, fingers and vocal mechanism, striving . mewsic, too." : - masterpieces, Has anyone else tried his to express the emotional meaning of the Astonished, I asked him, how come? -:::::::::::::: I , IICo' , same melodic line. It's difficult enough to "Well suh, from readin' the Good Book, hand on them? 1 hope not.! U I realize the music's content via one set of Ah figured that just about the only thing CYRIL scorr's "LENTO" complex physical co-ordinations! we got down here on earth that they have Furthermore, when a pianist sings along up in Heaven is Illewsic. So I begun to take This week, in my intermediate piano as he plays, his emotion tends to be released piano lessons a few months back, so's not class, a piece that I have not heard or taught for many years was played-Crril I 1 I through his voice. He feels and sings his to feel too strange when I got there. I can >- L. H. 11'111' Scott's "Lento", one of hi "Pierrot" pieces. 1 effects but unfortunately they don't emerge play real good "When the Roll is Called .n. poco rd. ~ through his fingers. Players should often up Yonder" and "Shall We Gather at the Its freshness and charm are still undimmed. -& sing phrases or melodic lines of course but River?" Now I'm practicin' "Swing Low I wonder why we have dropped it, whcn it it is better to do this away from the piano. Sweet Chariot" and hope to learn it good, has such appeal to sentimental young peo· > "But what about Toscanini?" Somebody too - _". Before I could reply, he had pIe. Perhaps, alas, the youth of t.his day 5 3 is sure to ask, "Isn't he supposed to sing faded away. are no longer romantic. I like to think of 3 I •I 5 constantly as he conducts?" Yes, I am told Six months later I returned to Atlanta. its first measure like this: A .2 3 4. he does. But remember, the Maestro is not The old waiter was gone. I'm sure his playing anyone of those tricky orchestral chariot had a piano in it as it drifted down :1:12: 'I1ljJ plaY/1I1!y instruments himself~he's just inspiring to carry him home. How the Pearly Gates q nJf non legalo Jrq #r FJ,~,ck A ",F I lo\"e yOIl > his men to do that for him! The men, alas, must have rung as he rolled through, with A A A have quite enough to worry about without all the cherubims and seraphims chorusin 0_.... indulging their emotions vocally. They "When the Roll is called up Yondcr~" and and the next measure's extension of it: leave that until after the rehearsal! the new angel, already happily at home, q7 So, let us pianists sing exclusively fr0111 answering back with his mewsic, "I'll Be : our hearts through our fingers. There!" ~ t ifCCi?;J'1 I 3 >- i love )'ou.De&T SWING LOW SWEET PIANO CONCERT ARRANGEMENTS OF WALTZES I The an.cien.t and grizzled little waiter Look ont when you play or teach any .T hope teachers will rediscover the Lento's r r r!r had served me silently for five days while of those sizzling concert arrangements o"{ >- usefulness as a big, luscious, stretching I made the Atlanta hotel my headquarters waltz-sets. Most of them foam, fizz and II chord piece for adolescents, and as a sure- during a teaching and concert tour. At the boil so long tllat the waltzes themselves are fire developer of warm, ardent phrasing for I last breakfast the old fellow shuffied over hoiled out. Godowsky's are by far the timid young people. THE EXD • I ,2 5 From "Concert Transcriptions of Three Stephen Foster Melodies" by Elinor Remick 'Varren. International Copyr-ight Secured 26 Copyright 1940 by Oliver Ditson Company ETUDE-APRIL 19j1 ETUDE· APRIL 1951 .27 5 Palos Verdes ~ No. 130-41052 The Green Cliffs of California J~. This is a study in alternation of staccato and legato tOUCh, with the former predominating. Interpretatively it poses the prob- lem of securing contrast in its four sections. Observe tempo indications carefully in the transition from the opening section to the passage in D-flat. An organ-like sonority should be sought for in the 16-measure passage in E major, and the closing 1 1 1 1 .2 1 2 12 1 48121211 2 1.2 a t 2 12 • 1 section should be played brilliantly, at top speed. Grade 4. 2J legato _=1== =-- PAUL STOYE tranqu.illy and a little slozoer • I • a tempo 1 .1 • Allegretto U: 152) •1 9 3 • 3 1 • • • • , 11 • >- " , • • 3 4 3 - r • 1 • -- • • •·• • • • • , r .' 1'. . . 11. . • 11 • --...-'. 11· • I ~'Il •• • Ii 2J ~ :>- ::> s ritardando p graceflllly I ~_ . ~~~ .;. 8--,-, • a• ~: I.e.· ?, .c~~ , .... ==is .. :>-:>- ' . . ',> : : >-- ...... >: se • I I I 1 1 I 1 • I =- s .. 2 5 I • • L.-' • L.-' L.-' staccato II 3 ~ >, , .( , poco m arcato It I ; 2 3 1 .. I - ' ... I~ T1 •• 1.---'-: 11· , >,---",·n. :>..J TT· I- 0>-" TI • ;.--.-:q~ ::> I' ·r->---'l~.:. I~ .... [I =- iJ =j; .. --= p~.;. ~ .;,. .;,. ="1;.;. -= v v .;,. .. , ... ~.e r:S ...... I s : ••• 1 ~ s 3 s 1 ~ ~ 1 L..J ~ •• • z L.-' L..J <-.J ~ ~ " " " " "" " L.J • '-' ~ " L.J ( •I ~ a,2 5 a tempo •I I ~. JIL ~ .;.• 1 • h~, ~! " ~ ~ I ~ :>-~ .;. :>- r4+i ~ 1 ! ..:.• -~ .. .:e.' ~~ .. ~ 2 , 11!l? 11011 Irga/n " I • "" . - --== ~ 1 A p>- pp .1 I- p= pp delicately -= IJIJJ "i/' rdellllto 2J =-=-- --= -= .;,. .. ~ ~ ~ : " 1 1. ~!' <-.J ~ I ~~ ; ~b~_ 1. 1 "!"~ 1 ~~ I L.J '--' in thne I • 1 L..J • • ~ .. • • a tempo " A A , " . ~. ~~ .. ~ 111tempo' •· ( •. " , , ~~---. ...:. -- . h~~,. r= L! " . • •• • • 3 • I • .....:.... mf ~old back slightly f P: ,- :>- =-- 2J rdardando pp " " " :>- mp Jli/' rltellll,t0 -*- .. .. 1!l .. I... : : 1" .,~ L-' L-' ':" "If"! '-' I •, I ,~~ ~~ 3~ ~ '----' L...-....--' .. Smoothly and lightly •• it ,2 I :>-• 3 • • • ;~;.. ... 1,;;;; 1 2 ~ ..:..• ~,~~~• ~I .,~JIL ~ .. ~,;. -*- 2 ~ 5" "....:." .1 • .. I- .. ~ ~ pp ~ ;.. ;.. E: b, ~ , F- i ~ ~ ~i i '= I , -= : 1 8---,--, 1 1 1 1 5 I 1 2 3 4 ~>' I :>- fen. • • • • • :>- ( 3 4 :?" 4 3 " ,.~ >:0 5 " Jl "~ .J ii !~~!f I " "" ~ L~P ?:-, >,/;i ,. ~ ~ • • • • i~ ill ! 1 1 1 • 1 ------" , ~.1.. • 1 • • • ~q~t ~~~.!,• •• ...1.. ... I I It.! . ~... hold bai:k ,.u .If I- Slig~y t~ b;; ti",e " l.H. - 11i/' p:~, h_.l _.. t~;" ;:;: :>- 2YP b~~:: :-/1- I' ~ l±:L f.,- I, . ~~ ,~~ ~ --- .~-.. - • !~ Ilb~' ;2;-1 h ~ ~ .. i .. e: S : I:~~d . : : . I .., -r-....'- , 1 1 I 1<7 '2'" 1 ~.t:~~ ~ 1 • • ~r iIr ~ ,2 " ~2 . i • t:;_U ,5' International Copyright Serured ~ COPYright 1950 by Oliver Ditson Company 28 <-.J > ETUDE·APRIL 1~51 .29 ETUDE· APRIL 1951 7 > " .. ..:. .1(. ..:.,~ . .:.~' ;,. ..» ;.. ,.. ~ ..:.... - "';'I! . Carefree People " , • . . . No. 130-41045 Gr.'\de 3. MORTIMER BROWNING Op. 40, No.1 , L I ;;- ...... '-l..l.. ;;- I,~ ,-> In time ~4.3:t1#2~. ~ I ~ ~' L'vely 5 • • pp !- :J: ~ ~~ ~~i •I • 3 a 1 i 2 1. ~~~:J: i! ~ e i I'- I'- i= ~,~,~ ~ • ..." . • " : .. -~ :> - ~ .~...... ~ I~r' 1"" p rel ar d. nil' : :~ 5 ' ... b•. , With sonority .. -. ~,.... > : ;. E~~ ... , A~ , Fe. . ~ ~~!~",:a!.! 1> II t~ , /\ , L--J '= . i . ~ ,.... n .... "iP.--'- !lold back In tinie #~ .I' legalo I ~-.r .1 . " ...... ~l!"~ crescendo ~ p=- <:: : ... "if ,'> , ~ ;;- ;;---== ";> , ____ , .. n ~ '-.. : -. 1 '-...... t..s. - , !..;..mf ~ .... I " ~4f R~'iJ~...... 1._. -r! T'!'" , -. ! , '------' , f' t t r' e-. '-' w w 5 A A • • 2 ~ /' 5 .: •, • , 2 8 A• , A~ I Jl l! 5 • 5 • simile -_ a f • • • Chanson Pensive I No. 26439 - As its title ("Pensive Sc ng»] suggests, this piece is to be p l ay e d exprcs~ivcly, with careful a t t e nt ion to phrasing and 1 =~. nuance. It is a useful study in legato playing. Grade 3 /2. - f J .. Amoroso (~: 8~·88) A. GRETCHANINOFF SC1npre 1110IIo espresslVO • r: ~ . 'I~ "I 'F;:.. • I~ r ~ll~ .~ ....--;--.. . . . ,, 1":\ poco 111enD 11105S0 (-I ~ ,--.. 3~ ~ • . ~ ~ ... =-\ -I 11 • - -. - - It 'r r ~r ~i ~flfr r c;fsI. .t:~ ~r ~~ ,1l,'fJ 'jfJ ;~ , u "~~ .1> .C =- «z:z-. Ii --;" : roll. .P - roll. ~ ofT ~ I: , } J /'~ e <2-- ~ r; ~ ~ , .. • • -• : .. •0----..' :-.;;--...... ----.. .,. Fr-, , ~ r I> II ~:---~ . • :::=-- • . . No. 130·4104" Busy Little Rickshaw Boy -. (-T 1 0: (-I f lfP~1 I T - Grade 2 12. ~r r en rr ~r"'l: Lively WILLIAM SCHER 1111' 1111' cresco 8····..··········..······· ··················..········· . x-. ~ ~ fll~lllh nil' ~ " " tie .Jj. .. = ... 14 :>• .:> : .. , • -I ,-I , I ~ 3~ .~, < 3...-:: ,. ~ ~ ~ n T ~ ...... - ~r ~f.\ a Irlllpo rr=== nil' nil' = ----::;--.... .,.~ , 1":\ ~ .... .- '" 11 II J~ . =-- • - - - ., : -- --- . -- 1 y y' ...... p •• r , . ": ...... >- I~ (-I - .t' nR:G1 1(- 1 I ~ :> >- >- ~r rall·f f.\ ~r ~f'It p cresco 1111' • . llst time "II' =-- mil. >-1":\\;./ 8..· ···..·..·· ··..· · ··..·..·..·..· · · · · ; II Last time .. ll-e x-' D .. ~ I #~ ll::I~IB : I' 8·...... ···...... ··, : •~., . hj\.~ .l'J .~,; " I . I e- \", '. ~ - , Copyright 1936 by Theodore Presser Co. I nternational Copyright Secured '1 T , \ _.- .- . f No. 26440 Quasi Valse . : - - - - "Like a waltz" is the title of this lyric piec~, another excellent study in phrasing and legato playing The characteristic --- ...... • >-' rubato of well-played waltzes should be employed, though not exaggerated. Grade 31/2. . >- Fine >- , • Moderato (~:120-126) , , • • 3 A. GRETCHANINOFF • , II..:. . .I>~ ~ ~.:.~ . espressivo •.# ~ ~ • • . • ~ ... ~~ ...... ~ 11 2~ 1,-- ~ ... '- - • • • -, • . . ~ .- ~ t. .- t...... - .P nil' - .P -=:::::: .::::= 11 -= ==== 2 1111' =- -- " - rI rt ~ , ~ ~ (f (i ,~ I: 1 . : - l!!: ~ - ll!: ~? ~~~ " • ~~ ~~~ ~~, , ~~~ • , • '-' L....J • • • • poco • a lempo . , ~ L ---=--- ~ ~ ~1 ,5 . .:...... :...:. ... It":' ..:. .11' • 1 ::I ...... • ~Isosf.~ ~ 11 _~ 3 ,'. -r-;;;; • • , 3 2~ v.-:: • • • . " It ... .'I .'I 1,'--"1, I~ I (- I (- -..It-- - -=::::: ----<:: rif . '------~ /' jn J} =- .P nil' =-- ==- ;.. .:. .:. nil' ~ 3 . . """'''""' ~#J J ~ i ~ L~ ~ ~ :I ~ 11.. . ..l ~ 1 ~ -- : .. "J J }1 , , ~ ~ , ?, ~ • • >- ~~ ~~~ ';'~------.------• D. C. al Fine , ! . • ! ! -I • • ! simile ! International Copyright Secured Copyright 1!J36 by Theodore Presser Co. International Copyright Secured Copyright 1950 by Oliver Ditson Company 33 32 ETUDE. APRIL 1951 ETUlJP. APRIL 1951 Country Dance Country Dance No. 110·40136 No. 110·40136 PRIMO SECONDO Con moto (J.: 69) FRANCES TERRY FRANCES TERRY 8 ···· . Con moto (i,69) 5 5 ~ ~• 2 >-• 2', ~ 1 2 .J! II .._____. • :> , • • ----- . ~ a ~ . • " - - " .. ~ . 1Jlf {/J1 / 11/ rt f a 11!f' all ima! 0 '>---. :> J! ..----. :> .;. . :>-----. ~ - :> • - a ,.--fP- "- :> 3 2 a , .. • a , , 0 .l • 3 • • 5 • • • • • 5 ································································.. 8 5 : 5_2 :>~, ,;;,or-:'... (/I. • II 0 2. - . • • I • .~ • ;>-. . cresco I" ,J f nil' f ui/' 'JI~(l rc . cresc . :> :>~ . 11 . . ~ , 0 >'--. z»>:> 0 1 -4 , 2 ;.~~2 , '--' • • • 2 3 s • 3 a 8·········..·:········...... · :'1,.---.... 1 t..-.., 4. r:'\ '.3 2 ~, 11 o~. j 2 -...... - ~ I' f "iI' cresco f ril. f crcsc . f ril. 1':'\ "iI' rr. ~ J! ~. , - >-. 2 0 ...- 2 .. :'-.ll.-":" 2 . 9~" T. ;'--.!t-~ >a'--' a 5 , :'I 1214 • s 3 - .5 '--' 8·····························..······..······..············ , ; . I a e",po rt Itl1/ 5' 5 2 >...-...... ,1 2 >:: 3 " ~ 3 po 3 ~. ..---- . 11 .,~. 1 >~ • • • • , - ) .. nil' Cl1limato :> lIif an/'Illato :> II .____. >~ .~. >~. ------. ~ , , • t 2 , 2 3 , '---' '---' 0 2 0 .. 3 5 4.3 • • • 5 8 0 o' 0 0 0 0.00.0000 0 ••••• 0'" 0 0 0 .. 0'" 0 .. o' 0 0 0.0.0000.00.00000. 0 0.·-0 •• 000.0'" 0 0 0 0.0000000000.0.00,00.0 .. 00.00000000.0000 •• 000.0 . .5 3 ______-> '3 5 ~ >--.... 2 ;;----.., 2 3 ~ II > t 2 - 3 2 • • • :> :> , "iI' f . "if ,J f ,J :> :> :> > ~~. ~ .~. ~ 11 - , 2 , 2 t .. • 2 • 2 , 0 • • Vivace Vivace 80 •••• 00000.00 0 0 o' 0 0 0 0 0" 0 .. 0 , _ ; 8..0 0 0 0 0 0""00" 0 0 o. 0 0.0 .... 0 •• or; 0 0 0" 0 0 0 0 0 0 0: 5 >- >- iI >- >-. . . 2 ., , 2 ~. 2 ~ll ~. >- • - :> p f l p f "if =?- ?' > ~ J! ~. > ~. >- • ~ ----. , l • Copyright 1951) by Theodore Press'er ~o. 3 o , International Copyright Secured 5 • • 5 • • • J4 ETUDE·APRIL 1951 J.; HTUDE . APRIL 1951 , " God Is Love No. 131.41022 fear _ in H. ALEXANDER MATTHEWS nev er fail eth; there is no fear, --- Text from A.!,-;. C. A.i'. 1-- The First Epistle of St. John ---- Rather slowly .P-= -- ~ I • God is love, , I ~ I . d nn. (' rd. malta -«. ~ "-L...Y[ -, T1 ir""f'.'J 1_r"Ir" • .P:> 2) "if -- >---- there is no __ fear in love. But .n £1: J love, I~ ~ a- n . . ==;;:d. : - I .. mot to rd. I i)~ >- > I "=" f5""T:! A 'U_ -~. • and > =-- ... God is love, 2' r it. a t cm po ere sc . '!....L!!.: f.. ----....17\ {[Ie IIlpO " I . .~ / I Vl ... i cast _ rth out fear. • ::r"lI r r Vi per - feet love cast _ e t h out fear, but per- feet love ur'" U!.r #trrjtUJ #illru.u _----- 17\ a l entpo a lelllpo ~; I I a .. ~ J I I > :> :> : --- I I > >- '::. - I - f. , .. , ------.. eth God, and ev - 'ry.one that lov-eth is be - got - ten of God and know - Carillon -,--...... , I ;0;;:. I 1----"""'1. I ~ " I ------, o (10) 30 87·16 21/ em !II) 04 58-10 000 RALPH E. MARRYOTT I I I Allegretto I' I l' I r ==- 1------11"1 l r c:.,..J L..J' I .. ------~ I I:=-7J= ::-.Iin------, .-----: - ..J. ..J :;. J J .I.; J I : - I I . I 'Ii!: ~ .. PEDAL know - eth God. Love nev - er fa il - eth, p,ed 62 ,~ .i->: I qJ --- I J ,--r-----, I • r" I r'" ~I r" r i ~r'I r r -r r' r r l~-r~r r r r I r I I , r I I I ~ II - ~ -- - ~ "iI'>- - .P .. ~ J. 'I J ----< . h ~ a; ~ rnl--Uq.l : ---- - Copyright ~~Ljf)by Oliver Ditson Company International Copyright Secured International Copyright Secured Copyright 1949 by Gli ver- Ditson Company 36 ETUDE-APRIL /951 J7 ETUDE -APRIL /9.51 8"" ...... •...... •-,..•.....•...... •...... •...... """", -'. to Coda. I .... - I I' I It. rit. ===- ;, : . -:~! "'~:J~ :: · -:~~... .Ll. It. :!:J. ~ .~... -: ~~~ ~ ~. .# --- U~ ~ ~~ ... --- I : u .. .. :e: Ped.42 - ;. Slow er ;. -- I" Sw. f r r f f f r ¥ f F If ~ F f f F "F F f F r f , I I ;.J .J ® ./liI' I I I I : u ______u . ....______.____u u ______.____.... u~u ------ : I I I I • • • • • • • • Ped . 42 , t J. I~II CHIMES 1m D. C. at Codfl. I I . 17 tl .. ~ u 1 I I I I # II I r W a .n. I J •• .; .J d .; I I I I ~ ~ J .~ I t .~ - ~ . 1-L LL •• ~ . I I • I I • • • • .;. ..J I 1 I I ;, J. 1_11 J. l-J I I J. C-J J J I , I I I , I i • I I I I I I I I I I I j a. ;;~~~~ ; J CODA .J j .J j bJ J bJ .J bJ .J bJ ~.J - - : - - : •• .-.r L, q~. Qa.. ~~~;;-"-I~l " I - ~ 'rr.v·~T·~ .. Gtff r qr~'" "q"!!.;~..... [2ill ~J~J :Jq.J~J I ".J It.!. " I I " I 1 I I , I I I : . : -.0 1 ~f~ I I I I I ------. ff -9___ -e-___ D_ __u__ u Ped.62 ---~------ETUDE·APRIL 1951 39 3S ETUIJE.APRIL 1951 , V 3 Farewell EYVIND ALNAES • No. 114- 40005 The Sailor's Last Voyage. A,r.by Jeno Don.th Oil G s t r tng - ~ • - • - - - •••• - • - - - - - • - .- , • I , 3 Allegretto ri-; "- .a 1\ 11 II V • • • a tempo VIOLIN - -«. : It nzpt~n sonore ~l ell _ Q .. ~ .1":\ a te",po --- - 1tv -11 p '" r i.-It. r rit. l' PIANO -= eSPr· 11_ ~e;/ ---. r-: .. , ~ ~ ~' -~' w ~ a tempo ({lell/po> - ----V--. G:Hr !e."!p.o .. _ ------, on D string ----_.-----_._._._---- , · - - ..- ..... 2 , I , ~ 3 , .. • • Illi II • • . - . • ~ p =-1JP I~ '-"4- rit. '-. ·mp - POCOrd.- • ~ a tell/Po " II II t.!!mpo a tempo, , . · ~ /* .. , It. 4/- :-::::::: '''-$ Ill~ll. 1:#' r I .:-: "~ .P .. --=== =:- rit. 11&,-- p 0.!1'. rit:-.... - > r. ~ -;;;", ,,' .. -;:;;;--.. -& 1'..- .. : -- · . , w· I ~ "i a tempo D str. VAstr V I t 1':\• 3 23 ..~ • I ~ '.. . -- Song of the Jally Miller ,-. No. 27913 "-.-- .iP ...... - mp p7mt a--p5co dim. e rit. · "*-.v :0=- rit. "if a te·mpo rd. -=::: r.-, 'j I "i I "i - --, Allegretto gioviale (J,ss) GEORGE F. 11cKAY : VIOLIN~ i P L.J Ii r ,~~~~~~~~~~~V~~§~~~~~~~~~~i~~~~~v~~~~~~~~.~.~~ r~· r i I -r ~ Il!"l;l l,fffir 7~r :>- nil' !is rtf' u • poco a poco dl1>1.e rit .lit. ':' . - v .. 3 n V nt·.c. .. ~, t,r: ~;;;;:: .. [l~ttime V II Last time " II II P con fantasia r.'I ....---r-_ . . f rail . f to ~-!t- J ~~"i '1-1 I"'" ~ .... ~-. ca1~tab1le ~r: r.'I " mp I . I / --- rail. I V I • 1:1 :i. W V Fille V -- • r t • D. S. al Fille ...... V mf l' f /7'-0 f l~~~~~~~ .. British Copyright Secured ~ Copyright 1947 by Theodore------Presser Co. Copyright 1950 by Theodore Presser Co. ETUDE·APRIL 1951 41 Britj h =Copyrigb St<~ 40 ETUDE-~PRJL I Come; AU ;ye Roving Rangers Minuet . from . I .,; . Solo for Clarinet in B~ with Piano Accompaniment No.114·40007 Two Pieces for Brass Quartet (In American Folk Style) GEORGE FREDERIC HANDEL , A1T. by Angel del Busto ., Tempo di Menuetto (Moderato J,126) 1*- .~~ ...... ,:, . • . GEORGE FREDERICK Me KAY " tr- - 'tr-. ,CLARINET • Allegro con brio - ... J" , i"- p - lst Trumpet in B,* A . • "- , . I f ----- P' -- .. -6 I", -<9- 1* '" .. :4 ~ I-*t - , • .. f -6 2nd Trumpet in B a p . . . . • •• ... ~' : "- m.[ 1-. __ -- 1*-1*-. -. _. ... . - - - •• -- - ...... 76 ':4 1st Trombone or Horn in F :> ,.., . . 6- nif - - ..I. . '. •• ...... • •• ..- - , 2nd Trombone • . >- "iI' c- :> > I ;;; 111 :> I ~ " 1 v· Co' r - 1"- I ~ 09- - ,. "iL - I.-:;" . ..;. . 1- Il!.# . .:~ . I ... • . . - .. I I : ... nil ~ - I· ~ - - ..-~ -...... :. . 1. 112 nil - 1-& ~ " r ... • • • ...... - . : , I 4t riiordondc "- P a~1a rcpil izionc nil " -- T---. : _'0 ~ l-.z • 4-"f" -* r .. Cl) :1 :: Ii Fille p r - I:: :: • . - '$ .;.. , I ~ ".'=1 , "'. I- - - , -, .. f ,- , TRIO - i ~- ~~ ~ ~ ..; 1*- A- -. " --- -~ ... .. ,------I...... p cresco I.;. ..:..: ..:.I ~"'1'. ~ 1*-1*- • •• ... • 1"- I ...... - : " ------• --- >~ ~ .- -...... :-ll •...... ::'I- . . . . •• ... . •• ..- - -. :u cresc. . p~ --. nf.... I~ • 1~ I.... : ---- - f I, 1 ------r r-. :> i \I 2. :> I "--' --.- .. -,j ~ f - - I - ~ "iI' f • "--' -,; It! '- ~ . , :- ~ Fr~ . ... ;f; f~ ~ ------: j ,. lu -= f "iI'/" - :> ~ I~ ~ It: f '" - : - , ------:> - - f .. of All pa-rts sound as written ton seO're. British Copyright Secured Copyrrght 193"O'-l>y OlIver. D,tsun Company l>lelllletto D. C. al fllle Copyright 1950 by Theodore Presser Co. 43 42 ETUDE ·APRIL 1951 ETUDE.APKIL 1951 Cowboy on the Trail The Carnival Parade No. 110·40130 No. 110·40133 Grade 2. Grade 11/2 • Words and Music by ADA RICHTER H. P. HOPKINS Moderato 5 s s , 1 3 , s •1 In march time (J'132). I I , , - ".!J, s liS", • • . . 3 3 2 • • " " 1 1 • - 0 " 0 ...... -:e- • • • ~ 0 ~ • 11 li ~ · Git a- long ui.u, Ji'>rums '::--../ ~ I like to sing as I ride a - long, Yip-pi-i, yip- pi - 1 - ay. L.H. ::;> ::;> ~ ~ :> ::;.- ::;.- ~ ::;> ~ nil' ... 0 0 0 · I 1 I I 2 2 • " • 5~1 (The Cowboy whistles) 2 2 -~ 2 R.H. ~ _ _-_ _ .••...... • _ , " 1 1 2 · 1 rail. 5 5 4. ~ , •, ( I a te111pO ~ lot ,• 3 •, i , - " . 0 • . ~ 0 0 0 . ~ . . 1 . 0 . . 0 . . 0 . ~ }-J2 "'./ L r. r. ~ ~ ..... o --til --til ,.., --.- L.H. L.H. L.H. i. 2 L.H. Fine 11 ~o r .. • • dog- ies,git a.Iong. Yip-pi_i, yip - pi - i - ay. The ·• 0 , 0 , s , 2 2 4 S s I5 " , , 1 • , 1 1.------., 2 , , • 1 r:"\ , ------,5 .lJ, , 4 , 4 ~ • :>- 0 • - It . - · . 0 . . I . . - . . . rit . . . . f '0 0 ~ -6' ..... ~ ~ ~ ...... :. ..:. ...:...... ~..:. ..:. 0 . I~r:"\ 11 • • • ~ • · chuck wag. on's wait· in' down the way. Got - ta ride, ride 'til I reach the Big Di.vide. · . . f. .. 5 ttt Stfl 5 , 1 1 3 1 I 1 2 ... 1 5 0 0 D. S. al Fine , -,- , , Copyright 1950 by Theodore Presser Co. International Copyright Secured 2 'I 11 ! 5 " I 5 (The Cowboy chases" Stray) No. 130·41049 Rough and Tumble 5 11st time II Last time , 1 5 5 .lJ, 1 4 3 P". jU mosso Grade 1. 1 .. •Z - JOHN VERRALL 0 0 Fast 1 5 1 5 t 5 5 ....:. 3 ~ .... -til .... -z;. ~ I • -rio red!...... ~ ~ ... ~ .. -. " Yip.pi_i,yip_pi.i. rat!. ay! ay! ==-- nif creSCo , t- - - .... ~I"":l l1i1' f . . .. 111/' f dim. p pgently • · (boldly) , , , • 5 1 i 3 2 1 I ------r 5 • · 5 Fine. · 151616 5 ~ I 1• ~l 1 • (;\, JI • • 5 ...:..!' " .------...... 2 • ~ ~ ~ ~ .J .~ -I' ~ 11 .. .. • T - • rit. I It: .... ~ ~ ~ (;\, -==::::: p pp 0 ... • .. I~ 'b. ~ f =-- 0 H.. on. , 'll. ·• 1 2 3 1 3 1 2 5 , • • • 1 - D. S. a l Fil/e 1.3 i 5 5 Copyright 1950 by Theodore Presser Co. British Copyright Secured Copyright 1950 by Oliver Ditson Company International Copyright Secured ETUDE.APRIL 1951 ETUDE . APRIL 1951 45 Roundelay No. 110-40132 Grade 2. MARTHA BECK CARRAGAN Moderato giocoso (J, 8'<) a 5 , 0---.. u , . .>0- . . . Charles Munch and the Bes- poser and director of the East- I Ion Symphony Orchestra man School, last month received , , '--..../. - ~. f- r'If ~ played an all-French program the honorary degree of Ll. D_ "11' ~ = .;. ==-- ALTO 6 BASS .;, > --=== > honoringVincent Auriol, Presi . (his 13th) from the College of . : - dent of France, during M. the Pacific ... Four concerts CLARINET .• ., , , Auriol's visit to Washington, of American music will be pre- Wherever conductors demand ., , perfection, top-salaried artists choose 5 • : ~1I L-J in Constitution Hall last month sented by the New England '. 5 ~ 5..• 5 8---_ . • • Conservatory on April 24, Martin Freres alto and bass clari- S" , .. Artur Rodzinski, back I .> s , ...... nets. Arrange trial at your dealer's ~u ~. >~. 1'... ~'---"'.fI-.fI-.,...... ;. ~ . >------.. .~A from a tour of 18 concerts in April 27, May 1 and May 2 as . Italy, has just completed guest- part of the school's current today, or write for complete conductingassignments with the American Music Festival ... Martin Freres catalog-showing Los Angeles Philharmonic and The film version of Gion- Bb clarinets, alto and bass t. ~ • Les Concerts Symphoniques of Carlo Mell.otti's "The Medi- clarinet, oboe and = "11'--= .:. .;. ~ ~u . . . Montreal. um," featuring Marie Powers English hom. : Mode19 Model 10 and Leo Coleman of the orig- Alto Clarinet. Baas Cla.rinet Rll.dolf Firku,sny, pianist, inal Broadway cast, and the $500. $540. t., I, I , complete outfit. complete outfit . " .2 . '----' plays in Zurich and Athens Ld.year-old Italian coloratura, 5 8·····································, • I Anna Maria Albergheui, is ~ .. nextmonth as highlights of his Sale distributors 2 , • "I I I to be released shortly. The film- "u }f ".fI-.fI-...... ~ . " .:. I .~... ~ J . . fourth postwar tour of Europe . . . . · .. Serge Koussevitzky will ing took place in Rome, under Buegelelsen 8v...~ lead a performance of Tchai- Mr. Menotti's direction. The 5-7 .• 9 UNIO.N SQUARE, NEW YORK 3, .N. Y. . I I f- • • kovsky's"Pique Dame" at the movie "Medium" is performed .~t4 D..&;~ 7,20 ;BAT~HURS:r S ~ ,TORO f L.H. semp re f '~i II U .PP . . . .;. . . Berkshire Music Festival on in English. July 30 ... The New York Washington station WTTG Philharmonic.Sym/Jho ny, currently offers on television a t. , I • conductedby Bruno Walter series of film concerts by the • • and Dimitri iUitropoltlos, Vienna Philharmonic Or- THE FIRST NAME IN PIANO METHODS a tempo withRobert Casadesus, Zino chestra, Concerts were orig- ,., U ", .fI- . ~. >~ . >~ . . . -- Francescatti, ilfyra Hess, inally filmed in Vienna and . Rudolf Serkin and Solomon Salzburg ... Tenlple Univer- '--..../. I I as soloists,heads the list of or- sity this summer wiII again of· f- W~· '. mp rit. == :- : --- chestralattractions at the Edin- fer an all-expense 35-day tour u t ~ .:. :> burgh Festival this summer . of European summer music fes- : . - : ClaudioArran, pianjst, will tivals. Total cost of the tour, ~ be heard for the first time in which leaves Philadelphia July f- , I , '---J . • .. Israelnext month when he tours 28, is $987. Those taking the .. combines student and'-- ..... ll... the country under the auspices tour will receive six semester teacher appeal. Devised to sustain students' in- ~ U . ~ >~ ,~. ~ >~ >~ /""':. of the Israel Philharmonic ... hours' credit on graduate or terest and enthusiasm. Smooth step-by-step advancement, ...... combining the elements of piano technic with melody • . . . Dr. Howard Hanson, COlTI- undergraduate levels . Perfect Uninterrupted Sequence-Natural Progression , f- '--..../. I mf ::::=- MICHAEL AARON PIANO PRIMER "...... 60 -= GRADE ONE , ".""." ,.. ,.. " , " .•...... "., 1.00 ,;. = .> --==== CO~IPETITIONS (For details, write to sponsors listed) • . GRADE TWO .. , ,., ,." " ,.. , " .. " 1.00 . • 19thhiennial Young Artists Auditions in piano, violin, organ, voice_ GRADE THREE ,.,."" " , ,., 1.00 .., , Prizes:$1,000each. To be held in March and April, 1951. Sponsor: GRADE FOUR ,."., , ". 1.00 MICHAEL AARON ADULT PIANO COURSE...... 1.00 2 National"Federationof Music Clubs, 455 W. 23rd St., N-ewYork H, N.Y. 5 • •5 MICHAEL AARON PIANO TECHNIC - Book One ..... , .75 5 8··············; • Chambermusic or small orchestra work, by composer under 19. u .; . .- . ..;. . ..~. +k~-C'-' Prizes:$25,$10. Closing date: April 30, 1951. Sponsor: Jordan Col· MICHAEL AARON PIANO TECHNIC - Book Two...... 7S legeof Music, Indianapolis 2, Ind., aU. Mr. William Pelz. ELEMENTARY TEACHING PIECES by MICHAEL AARON • ChoirPhoto Contest. Open to non.professional choral groups only. First prize,$382.50; nine other prizes. Ends June 30, 1951. Sponsor: t., ~resc. ed aeee! .. ALL ABOARD ...... • 3S CLOWNING ...... • 35 ;~. f#-~' > f ChoirGuide, 166 W. 48th St., N. Y.. C. ICE CARNiVAL ...... • 35 INDIA ...... • 35 ~----. ~----. :> • School song, Canyon High School, Canyon, Texas. Prize, $100. PRAIRIE RIDER ...... • 30 STORY·BOOK WALTZ .30 II U != != ~ E: e: I- .ll. ClOSingdate: May 1, 1951. Song Chairman, Box 899, Canyon, Texas . TATTLETALE WHIMSy , ...• 3S e e .n. A : • Ballet score commemorating life, exploration of Co~umbus. Pri~e, (with words) ...... • 3S WOODLAND CASCADE .40 $1,000.Closing date, June 1, 1951. Sponsor: Columbian Centennial f- . Committee,Genoa, Italy . . • . . INC • .. • Setting for solo voice of texts from the New Testament. Prizes, MILLS MUSIC~ L- A\...______8:·~ $200.Contestcloses June 1, 1951. Sponsor: Avenue of American Art. 1619 BROADWAY, NEW YORK 19, N. Y. Copyright 1950 by Theodore Presser CO. A\. -' Box174--C, Pasadena, California. 46 International Copyright Secured ETUlJE - APRIL 1951 47 ETUDE-APRIL 1951 THE CONDUCTOR'S MAGIC a gesture of prayerful supplication each day, until he breathes natural- ly and instinctively for each mood. PHARYNGEAL VOICE and gave the preparatory beat in FRANCES CLARK (Continued from page 23) such a way that we could not help Finally, when each member of the announces but breathe for that mood. In the choir makes a similar discovery, it (Continued from Page 17) is wise to take a passage from an EASTMAN SCHOOL OF MUSIC \onUues who had probably never tern for time beating, hut that he final performance he did the very anthem that the choir knows from PIANO WORKSHOPS see; Mr. Koussevitzky before, and does not heat time. The only reason same thing. I have many times no- of the stroke can result in a thin, me- memory and to sing that passage, for yet they understood his language in- the performer must see the beat of ticed that Nil'. Bruno Walt.er allows dium, or thick line, or even broken portraying different moods. Sudden- TEACHERS and STUDENTS stantly because all great conductors the conductor is to know that the his singers to breathe only as he The University of Rochester paper, according to the "weight" of ly like an inspiration, the choir will speak the same language in move- measure has begun and on what wishes. The result is that his music the thought. Next, try increasing discover that they are reflecting the ment, no matter where they conduct. part of the measure the music starts. always glows with an inner feeling the crescendo to see whether or not JUNE 25·30 same facial expression and instinc- HOWARD HANSON, Director Each performer must know where Richard Wagner said-and Arturo of spiritual intensity. A work like the pharyngeal mechanism responds. KALAMAZOO COLLEGE tively taking the same pace In the downbeat is in the measure so Toscanini said it again more recent- Bach's "St. Matthew Passion" speaks RAYMOND WILSON, Assistant Director Some sinzers have a naturally well- breathing as the conductor. When KALAMAZOO, MICH. that he can count the measures while ly-that the conductor's duty is to "with fervor under Mr. Walter's di- developed'" mechanism without their this is carried through several AUGUST 13·17 he is not performing. There may be keep the pace or tempo. rection because he makes his singers Undergraduate and Graduate Departments ever having worked it consciously. phrases, the beginnings of good 30 measures rest, yet he must come The first important element in the breathe for the mood demanded by If the singer will now experiment VIRGINIA INTERMONT COLLEGE rhythm are established. Good rhythm in without hesitation, with perhaps conductor's responsibility, that of the work. by singing (on the pitches already BRISTOL, YIRGINIA begins as a physical response on the SUMMER SESSION only an encouraging glance from keeping tempo Or pace, is often dif- If the conductor is interested in. named), first with falsetto, carrying part of the performer to the mood For further informotion write the conductor. The first beat in a ficult since so many of us t.end to improving his conducting I should the tone right through to the pharyn- Piano Worhhop Secretary and breathing of the conductor. Mu- June 25-August 3, 1951 measure is always down, no matter think in terms of time, not rhythm. suggest that he become conscious of geal, he or she ve ill experience tI~e above addresses sic does not change with every what the pulse of the music, whether If we try to make our hands or the different kinds of breathing for sensation that the pharyngeal tone IS phrase, but has continuous pace. A it be in two, three or JOLLr. Two, or baton go at the pace or speed at various moods by the following ex- FALL SESSION slightly lower than the falsetto (even good conductor is never erratic in the second beat in a measure, is ex- which we want the music to move periment. Place the thumb of the as the normal tone is slightly lower Voice his pace, He finds the pace of a September 24, 1951-June 2, 1952 pressed differently in each pulse, and at the same time demand that right hand on the sternum, or than the pharyngeal on the same the performer watch our movements breastbone, with the fingertips of certain passage and relentlessly pitch). If, therefore, a note is at- • LOUIS GRAVEURE and the instant each performer sees makes the music hold to it without For further information address we make it impossible for him to rhe same hand on the abdomen and tacked falsetto and then with un- the second beat of the conductor he Piano produce anything but a stiff, angular the left hand on the left side ribs. stopping at bar lines or for vowels broken continuity, developed in knows the pulse of the music. The ARTHUR H. LARSON, Secretary-Registrar sound in music. Then speak the exclamation "Oh!" or consonants . depth, or, say, downward to the up-beat is always the same because • ETHEL LYON If we can accept that mood makes with quiet longing, with homesick- The conductor dare not break the maximum of its layer (which is vcr)' it leads to the down beat or 10 one EASTMAN SCHOOL OF MUSIC correct breathing and correct breath. ness, with annoyance, with irrita- attention of the listener by making WRITR FOR LITERATURB in the measure, so realf y about all shallow indeed), it will require very tion, with amazement, with child- too sudden a change in pace. There- a conductor has to know about time ing gives us the pace then we have Rochester, New York little extra downward «pressing" to like wonder and with tenderness. fore by facial expression he must CORPUS CHRISTI beating is that one is down. t.hat the discovered the secret of movement engage the pharyngeal layer. With this experiment will come the prepare his choir for a new mood, a FINE ARTS COLONY second heat in two, three and [our in sound. I remember that once in a I don't want this downward press- lune4·16 sudden discovery that each time one new beat and a new pace. Through pulse differs and that the last heat rehearsal with Mr. Toscanini, when ing thought to appeal to the hrutul speaks he breathes differently. If he understanding and constant prac- is always up. we did not sing a certain passage in CINCINNATI CONSERVATORY OF MUSIC streak lying dormant in all humans. Mrs. Buford Kirk, Pres" DtlK' E aspires to develop as a conductor, I tice the choir can become a vital Dr. Llither A. RichrnCln, Dean of Faculty 301 8rook$ Dr., Corpus Christi, Ttat The conclusion. then. is not that the tem po or pace he desired, he No, he feeling is somewhat akin to suggest that he repeat this exercise means of interpretation. TifE EN[) Established 18b7. Operated under auspices Cincinnati Institute of Fine Arts •• a great conductor has a correct pat- clasped his hands before his face in affiliated with University of Cincinnati. Complete school of music-Faculty of exerting a care/ally controlled down- •• international reputation. Degrees, Diplomas, Certificates-dormitories, 10 acre ward pressure on a piece of .iudia ••,. campus. Address. C. M. Benjamin, Reqistrar. rubber with, say, the tip of a pencil •• Dept. E. T•• Highland Ave. and OClk St., CINCINNATI 19, OHIO or match, when you can see and feel ,.•• the alight depth of rubber engaged; ,. COSMOPOLITAN SCHOOL OF MUSIC as the pressure is released so the ..•• rubber surface is regained. It i~ H~ .. Preparatory, College, Special, and Graduate Departments. Courses leading to most everyone prefers :~ Bachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's simple as that. Certificates in Music and Theatre Arts. So let the downward pressing be a i!IIJ tri..o~mati(* :~ Clarence Eidam Rossetter Cole both Iight and firm. It is, of course. President Member NASM Dean PORTABLE PHONOGRAPH :~ Edwin L. Stephen-Mgr., 306 South Wabash, Chicago 4, IlIlnois mainl y mental. After all. the singer ,. is practically groping in the dark. ,. aul"",atie r.eDrd , •. •• and the only illumination to reach lee!ion (all 'P"d", all •• I the laryngeal chamber is that of 'iIU) • automatic .h ..... AMERICAN CONSERVATORY a" • proleeh r.cord' correct thought. • ,i"'ple to operote • OF MUSIC-CHICAGO All singers know, more or less, Hlp.rb Ian •• hond· I' Offers courses in all branches of music and dramatic art '0"'. l.alhereotlfl COl. 65t.h year. Faculty of 135 artist teachers the feel of the normal voice. pro· • O.mont.hation'? Adt Member of National Association of Schools of Music your radio-..-cord dealer! Send for a free catalog-Address: John R. Hattstaedt, Pres., 573 Kimball Bldg., Chicago duced by the bottom and thickest layer of the vocal cord sp'tem. ~hl"'t CONSERVATORY. TRAINED MUSICIANS COMMAND BETTER INCOMES female voices experience little or no difficulty in passing into the ba~ic The highest type of Musical Training by Edension Methods, as devel~ped and perfecte"d ~y the Univer- sity Extension Conservatory, is not an experiment, not a make-shift, but h~s proven Its. value and from the pharyngeal, wherea~ most , UNIVERSITY EXTENSION CONSERVATORY. Dept. A·72l soundness in the careers of thousonds of musicians and teochers who owe their success entirely to the I tenors reveal a lack of mllscular personalized and painstaking coaching of this great Conservatory. Partial listing of courses below: l 28 East Jackson Blvd .• Chicago 4, Illinois Bachelor of Music Degree, Master of Music Degree, Artist Diploma I continuity resulling in a gap ill the I Please send me catalog, sample lessons and full informa- BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, 0, HARMONY:-Wri+ten by two of the finest , tion. regarding course I have marked with an, X below. tonal stream just as the transition i::o CHORAL CONDUCTING:-Brand new course I , Charter Member of the National Association of Schools of Music theorists in the country, Simple, yet thorough includes all the modern techniques-even radio I o Piano, Teacher's Normal Course 0 Voice being made. There will be a break. in every way. From basic fundamentals right , broadcasting. , o Piano, Student's Course 0 Choral Conducting ~ ~~ or a downward and up"ward ~l.ithcr through to Counterpoint and Orchestration. , II ~. , o Public School Mus.-Beginner's 0 Clarinet Learn to sing of the tone. In which ca:::-e. the rem- II! NORMAL PIANO:-Especially designed for I MiIE.\ liE o Public School Mus.-Supervisor's 0 Dance Band Azronging edy is not one of increa~ed bre:ltlt "wel6i4A HIGH leachers or future teachers. Treats and solves HISTORY:-A modern course including all types o Advanced Composition 0 Violin blast (which the brutal streak in so every problem of the progressive teacher. ~.. '" 'f''f'"'1 of music from ancient origins to 20th Century. o Ear Training & Sight Singing 0 Guitar TONES many, singers revels in) but the sys- Interesting-with emphasis an the analysis of History and ~nalysis of Music Mandolin ARRANGING:-AIl the trids of modern arrang· o 0 with confidence temattc develolJment witll ap . music-not 0 dull collection of fads. . prupn- LEARN ing drown from the experiences of the biggest I, o Harmony 0 Saxophone and ease , ate ex~rclses of the pharyngeal ACCORDION "name" arrangers in the country. , C Cornet-Trumpet 0 D.uble Counterpoint Once 'I 'u lea,n the WHY and HOW 0' high tones, 'IOUaC'lul,e mechalllslll by itself until absolute o Professional Cornet-Trumpet 0 Banjo the eon!ldence needed to add PUBLIC SCHOOL MUSIC:-Fits you for actual· I• ,ichness and quality to 'IOU' EAR TRAINING:-Designed to give you the 'bnu:cu~ar continuity on an oil-smooth THE work in the school room. Our model lessons de- I Name _ ,..... ·Age. "Higll Tanu and t~i~:il:'ia~~sm~~~~~. i~~~~~:: ability to read at sight, ta transpose and to , aSlS IS achieved. velop originality and give you an excellent guide , How to Sing Hem" ~~;esm~~~e:i~gth~l~h"~~~e~UI~~ PAGANI transcribe. Invaluable training for vocal or in· Street No, , ...... •...... - . hi. p,actlcal book "HIGH for teaching others. I by TONES AND HOW TO SING ~efore attempting to mix the strumental wor~. THEM." It's a find for every WAY • City , .•...... , ...... •.. 1,." Slate,,: . Frederic slnge,-c:learly written and easy VOIces the student should make him- , to follow. O.de, you, copy to· l Are you leaching now? . , , , , , .If so, how many pupils have Freemantel day fo' only S3. self thorou~hly familiar with the SEHD FOR Founded 1912 three. definite, characteristic tonal CATALOGUE CONSERVATORY you? Do you hold a Teacher's Certificate? . FREEMANTEL VOICE INSTITUTE UNIVERSITY EXTENSION Have you studied Harmony? ,Would you like to earn Extension Division sensatlO!lS accruing from the three mechamsms which form the 28 EAST JACKSON BLVD. (DEPT. A-72I) CHICAGO 4. ILL. I the Degree of Bachelor of Music?, , , , ..•...... , , , .• , •.. Dept. E·2, Steinway HolI, 113 W, 57th St., ,. I . l'pera· ! New York 19, New York. Ion a Uilit we normalh c 11 I I d (C ." a t H" Yo- •••••••••••••••• AAAA •••• ca cor s. ontinued Oil 1.J(flfl' SO) 49 48 ETUDE-APRIL 195] ETCD£-APRIL 19;1 SING WITH YOUR FINGERS THE PHARYNGEAL VOICE BOSTON • (Continlled from Page 19) plano BERKSHIRE UNIVERSITY (Continued from Page 48) teachers hand has begun to master tonal to die away between repetitions of MUSIC CENTER gradations, proceed in the same man· the chord, Make sure the hand re- recital time is drawing near and ner with the fingers and thumb of turns to its original vaulted position en; 01 mUJic We are assuming, of course, a teachers will demonstrate the success Let us now examine the question are now planning piano recitals. For after each repetition. SERGE KOUSSEVITZKY, Director the left hand, then practice both Degn Wgrren S. Freemgn USe well-developed pharyngeal in our the kind of material which will rna\e of their work through the of re- of engaging simultaneously the first hands alternately. tenor' without this it is not so easy Courses in all branche~ of music cital numbers such as these ••• which two mechanisms. parents beam with pride and cp. The soulUling The range of tonal gradations of all the notes of and music education. Preparatory, will provide fresh and interesting to do~etail fro~ pharyngeal to basic proval, we suggest you examine these Let the tenor produce and hold, TANGLEWOOD from pianissimo to forte should in- a chord with absolute evenness is undergraduate ond graduote study programs. without a tonal break, slither, or delightful, little numbers. say, a high A flat in falsetto, and Lenox, l\fassachusctl8 crease as the control of the finger valuable preparation for works in tonal gap. The longer the downward Eminent faculty tncludea: without interrupting the tone, de- which chords are used principally RECITAL NUMBERS pressing is continued the greater the is developed. Gradations also should liberately seek, and will in the RECITAL NUMBERS as the accompaniment to a melody. • Riehgrd Burgin percentage of the basic mechanism NINTH SESSION be nearly imperceptible. I like to GRADES 3. 4 and 5 pharyngeal with little breath pres- think of a well-controlled crescendo An example of this is found in • Arthur Fiedler sure, employing an open EH (as in will be engaged. There comes a GRADES 1 and 2 lilly 2-AllgrLSt 12, 1951 3916 A Dream. Db·3-4 ... Grieg as being like a fine china vase, white Chopin's £·flat Nocturne (see Ex, 1). • Fronds Findloy 3913 Adagio and Bouree, Om, F·3. Handel there) for the falsetto, and a very point, easily felt by the singer, when 3936 At Church. C_1. Dr~rinc 3914 Air (Water Music), F_3 Handel no more pharyngeal is left and only 3982 The Big Drum Major, F·I llopklo! Courses in at the bottom, deep blue at the top, • Heinrich Gebhgrd closed, flat eli (as in pet, and almost 3942 The Clowns, G.1...... ,.. Krc,U 3946 All Dressed Up, 0·3 Cowell with the colors blending into one • Korl Geiringer 397S,Air in G Major. Suite XIV. ·3 Handel approaching the vowel sound in the basic or normal voice is in oper- 3937 nece the Donkey, G-I.2 , .. DrOrlM Orcheslra Opera another so imperceptibly that it is 3910 Bagatelle. 01'. 33. No.6, ·3 Beethoven pit). As he makes this transition ation. Be it noted that the aforesaid 3909 Evening In the Country, ·2·3 Hiltok Chamber Music Theory • Roland HClyes 3980 Conga-La Mano Abajo, F-3 Reisfeld 3935 Four By Eight, .1. Pcdenoo-Klig downward tonal pressing must be impossible to say, "At this point the • Ernest Hutcheson from falsetto to pharyngeal he defi- lICIPI Conducting 3974 Folksong, 01'. 12. No.5. F;';m·3 GrieS" 3990 From My Garden, C·2 Chorus white ends and the blue begins." 3947 Tho Good Old Days, Dm.3 .. Cowcll nitely feels a certain amount of exercised with great care and, in a 3973 The Last Pavane, Am-2 Graoado! • Cor! Lamson 3946 Homesick Lilt. F-3,. Cowell 3941 The Little Lost eee-, Am.I KrerU As a result of patient, diligent ef- tension-resistance coming in. Should sense, firm delicacy. GREGOR PIATIGORSKY • Albert 5pCllding 3999 Intermezzo. 01'. 117. No. I, Eb·4 .llrahms 3991 Little veue. C-2. . .. Fold!! fort, the line of tonal gradation can 3972 Intermezzo fro Petite Suite, F.3. Burudlu the full tension of the pharyngeal 3938 Lonely Shore, Am·1 D.arlno WILLIAM KnOLL • StrCldlvgrlus QUClrtet 3907 La Poule (The Hen), Gm-4 Rameau 3918 Lullaby, F·2, " Mozart be lengthened, and little by little be brought into play, it means that Agfl;n, if our tenor is holding a I:IuGn Ross • James R. Houghton 3906 L'Hlrundefle (The Swallow). 0·4 .. DalJuin 3992 Marching Home, C·2 Foldu will become smooth, even, and free 3977 Menuetlo, L'Arlesienne, Eb-4 Bizet the cords have approximated to their head note purely with the basic 3993 Milty Evening. C-2.. . SrlrmoUn AARON COPLAND {rom irregu larities. A more intricate problem is posed • H. Augustine Smith 3900 Moment Musical. Oil. 94, No. I, C-4 maximum, leaving only a thin razor- mechanism and wishes to make a 3965 Outdoor Song. G.I...... Kraft BORIS GoI.DOVSK'l' Schubert for the interpreter in playing a chord Music Educofion Worhhop- edge slit between them. (N.B. The mixed tone by introducing a certain 3943 Picnic Party. F.l...... KmU Having mastered a single tone 3849 Narcissus. Ab·3 xcvrn 3994 Queen of the Rodeo. 0-2 .. !:lleln!l played by either hand, we may pro- of which one note must sing as the Opero Workshop 3949 Pa Jigs Them All Down, G-3 .... Cowell vocal cords must never touch during percentage of pharyngeal, he need 3996 Ruff and Tuff, Om·2 Slelo!l fiDelity-two Members 01 the melodic line while the others are -Piano Workshop 3950 Pegleg Dance. Am·4 Cowell phonation; and this is why the beau- merely lift up the tone (which is a 394~ Southern Sonatina, C·2.. . ,Slone BOSTONSYMPHONY ORCHESTRA ceed to the playing of two tones. 3896 Polonaise. 01'. 89, C.5. .Beetnovcn 3939 Song of the Prairie. C·l·2 .. Drorloe subdued. Sometimes this melodic tiful to-and-fro vibratory motion of thought, and not a physical act). Again the hand rests on five con- Yecr-round study available through twelve 3912 Prelude in Bbm. ·3 Uadov 3911 Sonatina, Am·2.3. . Kabllmky line is in the lowest note of each 3902 Rhapsody in Eb, 011. 119, No.4, ·4 Bralllns the cords must be left unsullied by The reaction to this mental "lifting" 3997 Squlrreb' Picnic. Em·2 Eckhaldl Special Program for Music secutive notes-c-Middle- C, D, E, F, week summer program 4000 Six Little Preludes. Bach chord, as in Brahms' C Major Inter- that brutal form of tonal attack lao is the employment of less basic tone; 3989 Starry Way, C.I , " .. llapklo! Education under the supervision and G. Adopt, as before, a light, reo For informotion, catalogue, i1lu~trated 4004 Thais. Meditation. G-3 Mo.,scnet 3944 T,.peu Waltz, C·2 Krcnt laxed arm position. Place the sec· mezzo, Op. 119, No.3 (see Ex. 2). 3903 The Windmill, 0-4. Daglncourt belled coup de glolte which causes consequently, some of the pharyn. 3979 Two Capricu, Om·F.I .. Papnlnl-StelDer of AUGUST D. ZANZlG folder, write the cords to collide with violence geal voice will come into operation and and fourth fingers on D and E. Donald L. Oliver, Director of Admissions Century Edition is 20c a copy For further i1lfornwlion, write Make sure both fingers are precisely and is productive in the long run of with the basic. If he knows how Century Edition i, 20c a copy BOSTON UNIYERSITY balanced, so that the keys can be I _1. I Our Graded·and-Classified-or our corns or nodes). If, on the other much to "lift up", he can also intro· Room 115-705 Commonwealth Avenue Our Graded-and·Clouified-or our Registrar Symphony Hall manipulated with exactly the same ~omp'ete catalog listing over 4000 hand, the singer "wills in'" 25, 50, duce a small percentage of falsetto P I ,-j- IT Boston 15, Mas.sachusetts complete catalog li1ting over 4000 finger weight. Play the two notes ex- ,~ " , ~,.,., ~c. numbers is free at your dealer or on or 75 per cent tension for the into the tone, and produce a mixed Boston . numbers is free at your dealer or M 15, l\tassachusctts request from us. pharyngeal, then the cords will not tone of all three mechanisms oper- actly together, so that they sound as come together completely, and con- request from us. one tone, not in the least varied in CENTURY MUSIC PUBLISHING CO. ating simultaneously. Without con· sequently 75, 50, or 25 pel' cent of qualjty or volume, Listen attentively 41 We,t B3rd St. New York 23, N.Y. siderable exercise, this is not easy falsetto remains. The net result in for most singers. CENTURY MUSIC PUBLISHINGCO, to be sure there is no time·lag in the SUMMER MASTER CLASSES 41 West 63rd St. New York 23,N,Y, every case is the simultaneous func- The above instructions apply to playing of the two notes. Or, as Or it may consist of the top note University of Denver tioning of the two mechanisms pro- women's voices as well as to men's_ For every serious vocal teachet Leschetizsky put it, "Think twice of each chord, as in Brahms' G ducing a mixed tone (voce mista). and play once." Minor Ballade (Ex. 3). but more particulady to mezzos and a,ul student of voice ... The next experiment for our tenor contraltos. These latter generally Be sure that your fingers del iver In either case, with diligent prac- DR. GUY MAIER, editor of Pian- is to engage only the pharyngeal have a well.developed pharyngeal, the volume of tone, quality of tone ist'~ Poge, "Etude;" eminent piano (with the aid of a very closed eli. and precision of unison which you Ex.3 5 YOUR VOICE . 'ri 51 pedogogue. Closs and ,private in· vowel sound, as stated above); and Pro(ession.;al Skill eOSts nOlhlnc um. For ~,-.-,' . are hearing in your mind's ear. If struction, July 2-Aug. 3. I, [he beSt in tuni"a and repair service 5Ce be sme that he gets the feeling of your classified phone directory (or A.S.P.T, )'ou playa percussive forte when you (1810-1856) Applied Science 01 Vocal Art Specigl Worluhop. ... .July 16-20 a very light, thin, flexibly taut tonal • Love your instrwnent, but members. Indorxd by puna ITl.lInufaclUrcl1. intended to produce a consorous but ~I. '-' .' '-J IlLr ' Send 3c JttZm/J for pam~h/rJ1 "Piallo line. He can make a slight cres· Cart" and "lilotb Pre~tntl(m" 10 Dept. E, I do not 'Worship it as the finest ByDouglas Scanley, M.S., Mus.D. mezza-forte tone, you are not in ( I~ I.ti cendo, to feel his way, so to speak, and most beautiful that exists! control of the keyboard. FLORENCE LAMONT HIN- and then, if he wishes to introduce Remember that there are other ike"<-,,,/~ "1/_7;1""",,, Such mastery is not gained over· MAN, guthor of "Slogans for Sing. a percentage of falsetto and thereby 1022 W. Garfield AYe. MiJ.....ukeeS, Will, ers;" teacher of notionally known FRANZ MANUFACTURING COMPANY instru?tents no less beautiful; night. Even a skilled pianist often A practical, scientific approach to artists. Voice Clinic June 20-July 21. NEW HAVEN, CONNECTICUT . create a mixed tone, all he has to that lit music for orchestra finds it difficult to play, for example, tice one can acquire sufficient con· do, while still holding the tone. is to and voices mnsic finds its high. voicedevelopment and retention that the final chord of a piece as softly trol to emphasize or subdue any note Privgfe ins1ruction June 20-Aug. 22. lift up the tone (this is quite m'ental, est expression, treats the latest developments with as he desires. Sometimes it comes of the chord at will. Begin by play· PIANO BREAKS of course) and release somewhat the ing a simple triad, with relaxed arm Our Monthly Break BUlletin enahles ~·ou -Robert Schumann careful applications, and with unique out surprisingly too loud; or the CHRISTIANSEN CHORAL to bUild up and glllmOtirize the songs on pharyngeal tension; he can now and vaulted hand· position as before. the Hit Pora.de v;itb cle"cr brl's,I,!>, novel teaching methods. Revealing iUustra· tone may be weak, lifeless, and in- SCHOOL. Inten~ive course under figures and tricky hoogie etl'ccts. "will in" the required percentage of Emphasize the thumb; then the third Send :W cents for latest copy or $2 tor a rions present the basic mechanics of audible in remote parts of the con- direction of F. Melius Christiansen ,,·ear. Mention It tea<:ber. falsetto. If, still holding the note. he but they can produce some very fine finger; finally the fifth finger. As voice. cert haH; or it may be unevenly ond his son paul. June 18·2B. THE AXEL CHRISTENSEN METHOD wishes to eliminate all falsetto,' he control of tone increases, fingers and P.O. Box 427, Oici, Calif. tones by. combining the pharyngeal played. This means the pianist is not may simply press downward slightly thumbs eventually will become "solo- and baSIC mechanisms. A woman's This new edition features many im· IJ"ettincr exactly what he wants. (mainly a downward thought fol- ists." OPERA WORKSHOP. l.,', If ii& •• i , •• _ 1'. pharyngeal tone is never so crude portant additions such as new findings '" Dnry patient, long·continued prac· ,.." _ 1_ II lowed by appropriate physical reac- Like all techniques derived from Make an Opera. Britten, directed by 1 1.::1l• ..u I •• .,. •••• -It.11 and brittl~ when produced by itself tice can give the pianist this needed Il .,-,_ ---. •• ; :.'111 dealing with hreathing and the action tion). He will again experience the ~s a te?or s, and the reason for this LEARN PIANO TUNING NOW control. Once the basic technique is the basic laws of physics, the funda- Roger Fee. June 20-July 21. HARMONY Clnd COUNTERPOINT sensation of a fine, flexible firm of the tongue, further information IS that III wo~en's ~oices the pharyn- Comple'e training on ur.right, .I~,i.nd mental singing tone here described A fascinating study. Send for pamphlet deserl!>- <:lnd grond pianos. G.. I C111.100 mastered, as already describe?, the ill~ these cleaf and complete I..ssona, o~anjzed tonal line. Let him now take breath with regard to manipulations and de· can be elaborated by every per· especially tor self_Instruction. Courtesy to geal mechalllsm IS built into the appra...-ed. Write for FREE Infol1llo!lon. same principles can be applied to BAND DIRECTORS' SHORT teachers. if he requires it, and produce a pur~ veloprnents in their use, and psycho- former to suit his own taste and JOHN M. LEIPOLD back ha~f of the cords, the "deep" SHOP TRAINING,0... more complex problems of chord- COURSE. Conducted by Dr. Fronk 218 S. Highland Ave.• Los Angeles 36. Calif. pharyngeal note on the same pitch A ' end, mamly responsible for the low m. s. Midilll Ar .. ~ II logical findings with regard to the temllerament. Among the great pian- flat; then let him seek and "will in" GRE ER playing. . . Simon, Cincinngti Conservafory of and lower. . medium notes , wh ereas In. training of voices. 366 pages, $6.00. Chords should be practIced m the ists who were pupils of Leschetizsky, Chart"red 1878 a little more depth of tonal line Music, July 23·28. men It IS built into the front h 1£ following manner: Begin with an no two developed their particular NEW YORK COLLEGE OF MUSIC which he may secure by a sligh; " SELECTED LIST OP GBAD£D fUCK' art of piano playing in quite the the shallow· end., wholly res ponSI.ahle' ISG MATERIAL FOB. TH.E F1.-\.o"OocompU~ Send for your copy today. even.toned chord, with all tones in Arved Kllrh, Diredor well·controlled downward pressinlJ" f h & COPYTlgbted bY Georre ),bcNabb. 1DclUd~ same way. All of them were identi. • .or t e lugh or head notes. And that "Row to Se.lec\. Teachlng !lateral"; 11 the chord played precisely together Write for summer mvsic bulletin 10: Courses in all branches of music mainly mental. Whereupon, a ce;~ Ilsl1ncs from Pre.Beclnners Ultoua:b G('Ide fied by the distinctive qualities of leading to Certificate ond Diploma IS why the tenor should . h' and with equal volume. Increase the tain percentage of basic' or nor~al h mIX IS VI (college enLrance) with subcUfWOtlSInto PITMAN The Lamont School of Music Catalogue on reque~t p aryngeal with small percenta es StudJe.s, COllee1oions, Pleeu. Stale & ~ tone gradually from pianissimo .to their individual genius. The basic voice should appear and so form a Forms. et.c. AuracUft-!J' bol1Od. Pre-PI 909 Grgnt St, Denver 3, Colo. 114 (Clst 85 Street New YClrk 28. N. Y. of falsetto to act as a ca gf $2_10. Order from GEORGE )I~"ABBi 2 W. 45 St. New York 19 fortissimo, exactly as was done with principle, however, was, and still mixed tone. . rpet or Eas\.man School of Wu.slc. Unlrusl\1 0 f remains, the Mme. THE END so tenmg and improvin g th e tone. Roebesw, Rochester 4. New Vort.. a single note. Do not allow the tone 50 51 ETUDE-APRIL 1951 ETUDE-APRIL 1951 To Violin , GULBRANSEN r High-Rating Holders of 1951 High School Diplomas Questions DlacJum. Cm6~ from 0rgan !Questions NATIONAL GUILD OF PIANO TEACHERS By HAROLD BERKLEY I the following Scholarships ore Available: By FREDERICK PHILLIPS $1000 Rollins College, Winter Park, Florida GO AHEAD AND STUDY $ 500 los Angeles Conservatory, California $ 200 Academy of Music of San Francisco, California R. G., Texas. I think you would hoir we have had SOll/l' following collections are recom- , IIt Ollf· C . $ 125 Manhattan School of Music, New York be well advised to do the studying orltroversy about the pro~lUncL- mended in the order named from you have in mind. You are compara- c. tl'e word "Jubilate" LfI, the the standpoint of difficulty, though $ 125 Oklahoma City University, Oklahoma anon 0 I tively young yet, young enough cer- "Now on Land and Sea De- most of them are somewhat general $ 100 Chicago Musical College, Illinois tainly to learn and to absorb what 11)'/1111, • J / I · ,," by Longjeilow. 11 osc 0 t. LC and scattered in grade: "At the you learn. The more you know. t.he 3in<, ...... 1mgtI seeM I III"" • To join the Guild, write Box 1113, Austin, Texas choirs we haric heard usc the Lattn Console," Felton; HOrgan Melodies," bet.t.er you will teach, and the wider pmvidi"9 o..p.r, n'lOnI raonont DoU! "J" like "Y." However, we fi,~dfrI eb- Landon; "Organ Player," Orem; your influence for good will be in rer 'lives Ihr regular El1glLSh pro- "Ecclesiae Organum,' Carl; "Thirty your community. It is obvious frOITI Music Teachers! Musicians! s e Preludes," Clough-Leighter ; "Eigh- SHROPSHIRE & FREY Iluncia/ion oj the tener "J""t. 1171'uc II VIOLIN TEACHERS Violins-Violas-Cellos your letter that the latter considera- teen Chor-al Preludes," Bach; Men- Advanced Students From Students to ProfessionQls Here is a new cchlevementr.. do J"Oli think is in better taste? . Repairing & Acc:essories tion is foremost in your mind. A man delssohn's Organ Works. Learn to ploy and teach the "New Finnev 119 W. 57th, N. Y. C. 19 C17·0561 -Miss P. M" North Carotino Way" recommended by ?". World .Fam~us with your background and ideals grand-like tonal quality in a Violinists. Become an crflstic and flnonclal eli can do a lot for music. He may never 37" piano, formerly available • Con yot/. give me any suggestions success. JOHN MARICERT CO. Sreictlv sllcllking the should 141 WEST 15TH ST•• NEW YORK II, N. Y. become nationally famous, but fame "J" ABOVE. Home Mod",1 Hammond Organ, used tn more homes than any olher organ. Finney Violin Keyboard System VIOLINS OLD & NEW only in pianos of much larger for obta.ining an organ in a small isn't everything. The knowledge of have the Latin pronunciation us in Hommo~d Orgon prices ,torI at $1285~ for Ihe Spinet Model Inol illustrated obove). E-2Sl7 N. BernCird St., Chicago 37, Ill. Expert RePairing, Send fer Catalog countr-y church? Also m.eans 0/ ob. valuable work well done is equally size cnd higher price. Write "Y." and this would probably be I toining n/Oney, cost, dedication serv- satisfying. Good luck! for free brochure showing required in the Roman Cu:holic serv- VIOLIN TEACHERS! ices, discounts, etc.? -H. S. full details of this phenomenal ice where Latin )ll'edoll1l1lates, b~t 30 E. Adams St.-Chicago 3, Ill. Ask for tucetr. Calalog ....ith in other churches more latitude IS Ever Count the Cost Professional Discount on VIOLIN HARMONICS development of scale design. \Vc suggest fe-st that you contact Specialists in Violins, Bows. Repairs, etc. fAMOUS VASICH VIOLINS Permitted and the writer's own pre- Endor~ed by Greatest "'lasters , I "J" three or four organ manufacturers ESl'ABUSHED IN 18;~, WHITE FOR CATAl.OG H. M. Co, Florida. About tile best, Special Teo,he,s DiJc:ount-Name of Ierence would be the regu ar W)lO will be glad to have a represen- of not owning one? Publishers of "VIOLINS and VIOLINISTS" NICHOLAS VASICH and certainly t.he most. practical nearest authorized dealer on request, sound. in order to avoid what some $2.50 per year-Specimen Copy 35¢. 817 N. EutClWSt. Baltimore 1, Md. tative talk over with you the type of book on violin harmonics is that of might inleqlfcl as l'highbrow." Very organ best suited to your ]'equire- For this instrument can arouse your Rebecca Holmes, "Harmonics in often malleI'S of this sort are settled SOME THINGS IN LIFE:, because or the ARRANGERS • SONGWRITERS • menls: and the approximate cost. \Ve children's interest in music. It can give MUSICIANS • STUDENTS Th~ory and Practice," There are GULBRANSEN COMPANY by a conference with the minister of sheer pleasure they give, cost more 'IIot Just Released~ DEPT. E, 816 N. KEDZIE AVE are ~nding you the names of seve.ral to own than to own. you and your wile it talent for leisure A New find the only sntemlzed text on other and more expensive books, the indi\idual church. Since. how. hours. Harmony for Popular Music! With this CHICAGO 51, ILLINOIS responsible manufacturers of pIpe The Hammond Organ, ror example. unique s~'stem you can harmonize original but the Holmes book gives all any el'er it is a Latin word. the "¥" The pride of possession melodies ellminaUng all guess work. trial organs, and we feel sure that any Herc's an idea of what you are miss- and error process, ACqUire R sound knOWl- intelligent violinist needs to have.to s(lu;d would be amply justified from edge of DIATONIC, CHROMATIC Rnd Mod- of Litem will be perfectly honest and ing if you havc been putting off buy- in your livin ....room the Hammond Or- ern Chord Progression. Know lill the chor,ds perfect his playing of harmonics. the point of view of corfecl ne~s. It gan says fine ~hings for your way of life. and their Progressions in Popular MUS,IC, fair in their l·ecommendations. It may ing onc: . wnepianos in30days and the analysis of Popular, Folk. Latm. is largely a maHer of choice. Xo music"l knowledge n...,ded. Piano tuners In g-rcat The thrill and the relaxation of cre· Yet your home can be modest; large ,..,..." f1L-":' Drama-Opera-Dance FOR THE PIANO iRe IV.efte Musieal Comedy JUSTWHAT ODES D,C. MEAN ~ fingerings, and pedal markings. ••~ .... Adult Iraining-Slage sn(l Presents fo students musi«d and 'relevtstou 'iew Ynrk appearances stresscd. Of course your progress should ~\pprfl\'eu 'for-VeU, Annex for Children. Write lechnical works in 5010 form. Firsl • In a piece with an introduction, be much more rapid this "second E .. \ll"lcne. 1780 H"way. N. Y. l'it", l~ . ENJOYS RHYTHM level of piclno study for pianistic Have you any suggestions [or the does a D. C. 1/l,ean to begin at the time over," and I do not mean periormunce oj these passages? BALOWIN,WALLACE development ccrrefully covered. beginning oj the introduction ~r that you are to go back to second- CONSERVATORY OF MUSIC The pupil to whom I B;ave "The I 'Would appreciate it very much. May aC«Jmpany ony first book .•75 at the beginl/ing of the mam grade music and then take two BEREA. OHIO (suburb of Cleveland) little Nigor" by Debussy enjo-yed -(Mrs.) fl. L. IV., Vermont ,\ffillatcu ",ith a tlrst claas Lillcral Arts theme? I am thinking especially years to reach fourth-grade music. concnc. Four anti flve year courses lea~1111t it so much that I am. wondering ij to degrees. ~'aculty of ..\rtlst Teachers. Send PROTECT you can suggest several other oj tfte march called "Under the But even though you spend only roe ratalollllo or lnformatf nn to; BERNICE FROST Of course Bach's "lnven- HAROLD W. BALTZ. Dean. Berea, Ohio pieces o] about the same t')'pe and Double Eagle." a few months on second-grade YOUR PIANO COURSE INCLUDES tions" were written for harpsi. grade, also a liulc more difficult. -Miss L. W., Nebraska material and a few more on third- BEGINNING AT THE PIANO. . .60 chord, and the passages you men- CARNEGIE COLLEGE -(Mrs.) E. D. fl., l ndiano. grade, I nevertheless believe that SHEET MUSIC AT THE PIANO, tion presented no difficulty since Books I, II,III,IY. . .. Ea. 1.00 Theoretically, the direction you will learn so many things you OF FINE ARTS -in a handsome TONKabinet. You'll keep it neat, clean, orderly, safe and TWO PLAYERS AT THE PiANO 1.00 they could be played on two man- DEPARTMENT OF MUSIC Da Capo (abbreviated D. C.) missed the first time that the ex- easy to find. Special drawer-trays COMPANION SERIES, I recommend the following; uals. For our modern pianos, • Instrumental-solo, for easy filing almost hand you the Books I, II,...... Ea. 1.00 "Tickling Toes," by Florence B. meansthat you are to repeat from perience will be enormously valu- orchestra. Vocal-solo and however, there is a solution: music you wont. Richly styled; finely THE ADULT AT THE PIANO. Price (slightly easier); "Str-um- thebeginning.If the repeated part able to you. But don't wait too ensemble. Music education Books I, II...... Ea. .75 Emanuel Moor, the Hungarian -teaching and sup erviainq crafted. ming the Banjo" (also slightly is to begin after the introduction long to get started again-one vocal ond instrumental rnu- COPIES SENT FOR EXAMINATION composer and inventor of the sic. Composition-theorY Slyl .. 606 shewn i. end table height for easier) and "J ally Minstrel," both the direction Dol Segno (D. S.) loses one's playing ability very and composition for public perform?nces., Stu- duol utility. Hold. 550 sheet's. Write for double-keyboard piano, was a dents' full symphony orthestra. Publie reCItals; deoler's name and pictures 01 other by Evangeline Lehman; "J uba meaning"from the sign" should rapidly in these earlier stages. individual and group. Chorus. Teachers of na- slyles for home., school •. bond •. Tonk great Bach scholar. For such cases tional and internationol reputation. Graduates N. Chi- Dance," by R. Nathaniel Dett. beused, a "sign" then indicating -K. G. Mfg. co., 1912 Magnolia Ave., he recommended shifting the right with top professional records. Coed. Catalog. cago 14. Then, more difficult: "Golliwogg's exactlywhere the repealed part is CARNEGIE INSTITUTE OF TECHNOLOGY hand one octave up. This can be Cake \Valk," and "General Lavine, to begin. But in a tual practice ABOUT THE SABER DANCE Box E Pittsburgh 13, Pa. done rnueically and not merely on Ecceiltrlc ... ," both by Debussy; composers-and even editors!- TONKabinets the few beats involved. Fo; In. DILLER-QUAILE Three Preludes, by George Gersh- areoftencareless about such mat· • TPill you please give us some stance, lranspose bars 13 and 14 School of Music for S/wet Music win. All lhese are pleasing pieces. lers,and Imyself have seen many in/ormation about the "Saber as follows: compositionsin which D, C. i Dance," ilS sl.Ory, ongm, and so Teacher Training and General WATCH YOUR PRONUNCIATION I usedin cases where the introduc- jorth? -5. M. C., Pennsylvania Musicianship Courses tionis clearly not inlended to be 66 East 80 St. New York 21, N. Y. MANUFLEX Besides the fact that many repeated.Ido not happen to have The "Saber Dance" is taken (patented) music appreciation teachers speak a copy of the composition you from the ballet "Cayne" by the GREENSBORO COLLEGE way above the heads of their contemporary composer, Aram SCHOOL OF MUSIC e~::f:;j mention,but I am guessing that Greensboro, North CCirolina is back in young pupils, they often fail to it is one in which the repeat be- Khachaturian. The story of the Member NASM pronounce their words clearly. For ballet deals with cotton pickers on F'our Year cour~es lcading to B.A. and B.~f. ginsafter the introduction. ,legree~. l,'aculty of Arti~t Teachers _ MUSIC instance, this happened recently a collective farm in Armenia. One Luther L. Gobbel. PreFident. Gustav Nelson, Desn When in doubt abont any such •.,e" ~hookfor the discriminating organist. Includes preludes, offer- to the F. 1:1 was performed in New York in 1930 ;ories, and postl~des based upon we'll-known ]~Yl1ln tune~. They Kodalv is one of the few modern by Toscanini. In 1920 his Opus 12 , , , aresimple in design, and never .above average rlifficul tv ; of partie- composers who have never written for two violins and viola became larappeal to the young orgamst. The collection couta ins hymns a piano concerto. I have hopes of known in Europe; in 1922 his Sere- ~nilablefor the important seasons of t he church year, including convincing him that he should work nade was given in Salzburg, and the Christmas,Lent, Easter, and others Ior general usc. Haunuo ud on a concerto because I feel he following year his Sonata for cello. reuistratioDS arc given. List price, Sl.OO would write a good one. e I" 1923, the 50th anniversary of SONGS OF WORSHIP The fact that Kodaly has virtually the union of the twin cities, Buda New A Collection or Sacred Songs for the Cburch Soloist abandoned composition and teaching Music I'll and Pest, he was commissioned to For April and is now devoting himself Thesesimple songs of devotion, with their appcal ing text and Hungarian literature and folklore is write the Psalmus Hungaricus, Opus PIANO SOLOS TWO PIANOS, FOUR HANDS Yarietyof mood will attract young singers and strike response in a fitting tribute. in Illy estimation, 13, which received its first perform- Grade 1 thecoofTregation, Good for the repertoire. of any church soloist Grade 4 to a man who never lowered his ance in Budapest on November 19th. 130-41073 Rain On the Leaves --easy t~ prepare. Texts arc Irom cciptucal hymn and contempo- ... Catherine Ryan Keysor $.30 110-24125 Valse Petite"", ,I, .Ellc Ketterer .35 standards, who sacrificed personal The work was translated into eight {easy, .broken chords, a~~e'g'gi~s, interesting harmony, adults rarysources, Included in the twelve pieces comprising the book 110-40067 Second Piano Part ~ Ella Kett .er ambition for the greater good of languages, and was given hundreds or beginners} M . are songs for Clu-istmas and Easter. Be sure to specify (recital, study, even grading in parts) special the music of his native land, and (If performances. On October 26_ Grade 2 High OJ' Low Voice when ordering. List ju-ice, S.75 who ranks with the greatest teachers 1926, his comic opera, "Hary Janos," Grade 5 11141000 ' , , ' , ' , , , , . , ' . , ' , , ... , . , . - .. , ,Hi~h Voice 110-40151 March of the Scouts, , , and musical creators of this day was produced. The suite from this .. Ella Ketterer .30 411.41001"""."""" , .. , , . , ' .... , .. , ' .•.. ' . , , . Low Voi ce (boys, rhythm, easy chords) 110-40092 M(2ednuettofrom Sonata Op. 2, No. I, " , " .Beethcven 1.00 and age . work was performed by Mengel berg I 10-40152 The Me.rry-ga Round. , , ... , , , " ,,' Albert De Vito n plano part by Louise Godfrey Ogle, interesting, Zoltan Kodaly's initial composi- and the New York Philharmonic .30 good for ensemble practice) 410,41017 PIANO PARTNERS ,descriptive of title. humorous, chords, rhythm) tion, an overture, was performed December 15, 1927, while the Teacher and turlent Piano Duels "Dances of Merosszek" and the Grade 2'Iz by a student's orchestra in Budapest VIOLIN SOLO WITH PIANO ACCOMPANIMENT by folly Donaldson in 1897. when the composer was 15 "Dances of Galanta" were performed 110-40/53 Barn Dance., ,." . ,." .Albert De Vita .30 114-40010 Once Upon a Time...... MaUrl'Is Kesnar .50 Theproblem of holding: the piano pupil's interest is often difficult years of age. His works were first by Toscanini iu New York in 1930 (folk tune, rhythm, scale passages both hands, (easy, beginners, both parts interesting thematically) becausehe is bored with the easy-grade pieces he is ohligcd to play. performed outside Hungary in 19]0 und 1933. Kodaly's other opera, adults or children J ~lrB.Donaldson has solved this prcb l III with ducts for pupil and when his string quartet was given "The Spinning Room," based on OCTAVO Grade] mchcr. The prime parts arc ea ily played by first and second in Zurich and piano works in Paris. Hungarian Folklore, was presented Secular gradestudents, while the teach r plays the difficult secoudo pa rt s ; Only his sonata for cello and piano in Budapest in 1932. Other works 130-41074 On Swan lake."""" .. ".,. ,Margaret Wigham .30 thusthe student feels he is performing au interesting piece of were also performed outside Hungary ha\'e emerged in a slow steady Aow 'tnterestln~ phrasing, chords, pedal. inspires imagination in 332-40079 How Do I Love Thee .Hcrry Robert Wilson .16 .I nlll~ic. 10 from 1901 to the present time. In erpretetlcn, adults or children} (SATB, a "must" for all h;~h' ~c'h~~I' and college programs, The numbers are original and rC£rcshil1g, and will appeal before World \Val' 1. arrangement of famous poem) young,activc minds. " List price, S.60 Kodaly was slow to produce THE END· Grade ]'/2 312-40093 Jesus Born in Bethlea, Traditional carol from the 130-41075 MirrorI d Lake, , , , ..... 0 Iive Dungan .40 A(ppa~a;hia,ns;, '" ", """ " "", ,arr. Tam Scolt .20 417,41002 PEDAL MASTERY (me 0 ious, colo,ful harma-,." ph,",',-g'" cha rS,pead d I) d?;;e 0 cott s Tlnest orr., another "must," easy to sing, totally by Ro\\'Land '~'. Dun h3'Ln Grade 4 I erent than any other choral orr. of a Christmas carol) PedalMastery is During the Christmas holidays we HOW I KEEl> MY TECHNIQUE 'sed (0 find that they require he was very much impressed with the have musical teas. One class pro. ,urpTl work of the Atlanta high school vides the music, while another furn- C lone rehearsal with the Syrn- Book I • Book 2 • Book 3 4 il!?~ 7'tiHd STOP "HEEL HOLES" FOREVER· ., O· boys and girls. , ishes the conversation around the phonybeforea concert. n occasion. SAVE YOUR PRECIOUS RUGS IheSymphonysets up two or three Late in 1944 Miss O'Callaghan punch bowl to drown out the music enlisted the aid of Mrs. James Each book is designed for the development of a .speclflc with this. beautiful safety mat. A quality product just like at Teal teas, , rehearsalsin advance, only to have phase of piano technique; at the same time providing the moulded l~ a lovely musical design of rich, soft brown O'Hear Sanders, president of the Every pupil gets a report card Iheartist declare the second and r-ubber- which blends with piano finish. Adding beauty Atlanta Music Club, in organizing pianist with practise material that is musically Interesting. and utJhty .to the finest of drawing rooms, it is a Good once a quarter. Excellent work is third rehearsals unnecessary. Housekeeping MUST. Prevents ugly worn spots or the type of symphony first suggested covers them; encourages correct posture-in a word- always paid a tribute, either in The Symphony itself rehearses Price $1.25 each, at your dealer or direct IT BELONGS. Sent to any address in the U. S. A. for by Dr. Maddy. And under the spon- the form of praise in front of hte in the afternoon, two or three $3.50 cash, check or money order. No COD'S. On sorship of t.he Music Club. the At- ROBBINS MUSIC CORPORATION • 799 Seventh Avenue. N. y 19 CLU? plan, order five mats, remit $14.00, save $3.50 classmates, 01' by the gift of a musi- timesa week, during the season . . Speciaf offer for agents and music teachers. Due t~ lanta Youth Symphony was organ- conditions the supply 15 necessarily limited so order cal card, pin, 01' statuette. Theorchestra is composed of 90 promptly to avoid disappointment. ized. Sopkin was asked to conduct PIANO TEACHERS The parents who are musical ap- musicians,75 of them profe sioual. This is your invitation to ottend the Internationol Plene Teachers its fir t two concerts in the winter Association 1951 Notional Convention, at the Hotel Statler, (for- Y. M. CRUIKSHANK SPECIALTIES pear on recital programs with the Theremaining 15 are outstanding Potent und spring of 1945. merly Hotel Pennsylvania). New York City, July 16, 17, IB, 19. Applied for Dept. 3-Dra .....er 190, SUNBURY, PA. children. A mother sings a solo with pnng musicians who are happy to Teachers Training Course, Student Piono Ploying Exominatiorls efc. The Music Club paid the conduc- For c.amplete information and free catalog of almost four dozen her daughter as accompanist; a be chosento play with the orchestra I.P.T.A. Teacher Aids write father plays a duet with his small lorthe experiencl'. As they acquire lur's ex!' nses, and the concerts ROBERT WHITFORD, Founder·Presldent son. The entire audience, comprisin .... professionalpolish and experience, were free. Ca pacity audiences a p- 18 North Perry Sqllore. Erie, Penna. parents and relatives. stands to sin~ ihese young musician ur added to pluuded the work of the one-hundred WHERE SHALL young musicians. CLEARFlt:I.I), GO TO STUDY? as two youthful st~dellts play ; ihe payroll. THE ROCKWELL SCHOOL OF TUNING PENNA, hymn or folk song. It's a radical It hasn't always heen clear sail- In September, 1945, the Music Ofje,i'IO a lUi-week course illdllilill!! aU p/wscs of IliGlIO tlmil!!! GIld '61'0iri,'((/ lub underwrote Sopkin's salary for MO&E:J'c~~1l':'~E~Is~~TM~J':I~~rfJ~~~R~~6 ~g6~'6~~A~X&~rJGI~g~VJPT~~~sIN- change from old-style recitals, ing forthe Atlanta Symphony, Atlan- The success being achieved by our graduates Is our best recommcndatlon. PRIVATE TEACHERS (New Yo,k CHyl "PIANO SIGHTREADING CAN BE u full months' season, with four "Approved for G.I. Training" 1 wasn't taught as 1am now teach. iians found it hard to realize that WrU.-: todalJ ior 1',tJs/l, Hi(j Beecher SALES"IAN Established Publish- 166 W. 72nd St., N. Y, C. Tel. SC 4·8385 ing firm wants man with cal' to sell Private Lessons, Teachers Courses, Forums- JEROME D. ROSEN Hopalong Cassidy on T·V. 1£ the\" [n·and-AboutAt.lanta High School ulted in only nine hundred tickets St., ElmIra, N, y, Summer closs-Southwest Harbor, Me. !\"B'" PIJL\"O l'[U'l'E~ 1,,1~'l'S YOU music library to families of music Violin Recitals-Artistic Violin Instruction students. Introduction from teachcr 801 Steinway Bldg., N.Y,C. Founder "Ancient String Instrument Ensemble" are not really keen about their mllsj~ Orchestraand invitcd Dr. Joseph sold. Atlantians had not yet accel}ted PUA-C'I'JCE DA.Y On. l\"JGI-l'l' 'VI'l'H- MARY BOXALL BOYD (Tues .• Fri.) CI. 6-8950, other days, KI. 9-8034 OU'I' Il)STUIUHNG O'l'HBRS. Mutes makes it easy to sell. Knowledge of Studios the Adanta Orchestra as a symphony, music not necessary. Guarantee paid (Pupil of leschetitky) they have many excuses for not Maddy,founder of the famous Na· pi,lno ubout 85%. F':asily attached 01' 6508 Delmar Blvd. 2070 N. Kirkwood Road white leal'ning. Liberal commis:;ion. Pianist-T eocher-Cooch-Progrom Building St. louis 12, Mo. Kirkwood. Mo. bothering with it. tionalHigh School Orchestra Camp They cont.inued to consider it a detached without harming mechan- University Society, 468-Hh Ave. Address-Steinwoy Hall-Nolo Studios- young people's orchestra, and Illany ism. State upright, gl'and, or spinet! N. Y. 16, N. Y . ' 113 W. 57th St., New York City, N. Y. That is one of many reasons whv atInterlochen,Michigan, to conduct Sold only on money bacl;: guarantee. CECILE JAHIEL were reluctant to pay admission. Send $5.00 for mute and full instt'uC- ."'-CCORDION ALPH.4.BET. New SYS- Concert Pianist-Composer EDNA GUNNAR PETERSON pjano lessons must he stimulatillg. the first concert on February 9, tions. Hichard Mayo, Dept. 004, 1120 tem to overcome basses' tl'ouble by 1st prize of the Paris Conservatory competitive, pleasant. and challeng· The low point was reached in the La.tona Stl'eet. Phila: 47, Pa. temporarily coloring some accordion EDWIN HUGHES Former pupil of Cortot and Ravel Concert Pianist-Artist Teacher 1939. buttons, compiled by the for'mel' N. Master classes for concert pianists. 229 So. Harvard Blvd. los Angeles Calif. ing. CJass work is stimulating be- spring of 1949. The Symphony by '\~OUH. UI'nVA.NTED l'lUSIC ex- Y. City public school piano teachel·. SUMMER MASTER CLASSES FOR changed piece for piece, 5¢ each; Private lesson\. DU. 3-2597 ' then was several thousand dollars Frank Pinto, 752a Madison St., Brool.;:- PIANISTS AND TEACHERS 18 East 78th Street New York City, N. Y. cause of its variety. competiti,·e Dr, Muddy returned each year to quality matched. Burpee's SpecialtY Iyn, N. Y, Short course of correspond- JULY 9-AUGUST II REgent 7-7Q30 or RHinelander 4-1589 beca use it has more to offer than conductthe orchestra in concert, in debt, and the prospects seemed Shoppe, Delton, Mich, encemail lessons given. 338 West B9th Street, New York, N. Y. ISABEL HUTCHESON VIOLINS FOR SALE: Fine hand HACK POPlJLAR SHEE'L' )IUSlC any other form of amusement. pleas- andat one time mentioned the idea very gloomy. made violins. "\\Tondel'ful tone. :Made to 1850. Ballads, Ragtime, everything. Teacher for Piano Teachers from finest selected wood. "\Vrite for Modern Pi?n~ Techrlic; Group Work; Coaching ant because one's buddies will be of an Allanta orchestra for young Then, in the summer of 1949, in. Catalog 10¢. Fore's, E3151 High, Den- ANNE YAGO McGUFFEY particulars-George & Joseph Holl, ver 5, Colorado. faor~;;:~t PlOrllSts. COrldueting Piano Teachers terested persons came together to 617 Bast Main St" Louisville 2, Ky. CHARLES LAGOURGUE 0.1. Q there and ulere'll be a bit of fun. womenand men who had finished H.4.ND UNIFOIUUS: 52 heavy gabar- Teacher of Voice FOR. S~\.LE. Rare records. Lists. . VOICE PRODUCTION-SINGING 1 make an all-out effort to keep the dine uniforms in good condition. (908 N Street, Northwest Studio 202, 1005 12 Elm St .. Dallas, Texos- challenging because ;;the others rna, highschool.The idea remained Witll Sight· Reading, Musical Theory, Composition, Ph. B.A. 6214 Collections bought, E. Hirschmann, Hoyal blue trimmed in white, '·Vest- Washington, D.C. District 4079 35 W. 57th St., New York be better prepared." . MissO'Caliaghan, but nothing was Symphony on the Atlanta scene, and 100 Duncan Ave., Jersey City, New po"int style. Coat, trousers, shako, Lagourgue's COMPLETE TREATISE Class lessons have arrived. .the they succeeded. J·el'sey. plume included. One drum major uni- ON TRANSPOSITION If doneabout it at that time_ .<\.llU,\."NGING fOl' B,and-Orchestra. form, four twirler uniforms-white (FRANKl (ERNESTOl is available at Theodore Presser Co. EVANGELINE LEHMAN private teacher is to meet the com· Outstandingyoung musicians were Before the 1949-50 season opened, Piano Vocals. Manuscripts corrected with blue trim. Sizes range fl'om very and prepared fOI" publication. Words small to very large. A real bargain LA FORGE-BERUMEN STUDIOS TEACHER OF SINGING petition of lower prices and more encouraged,however, by scholarships the number of professional musicians set to music-school song·s. Send at $350.00 for the lot. Conta('t Supt. Voice-Piano Opero-Operetta-Orataria_Cancert students. she will have to move out awarded to members of t.he high in the orchestra was increased to 55, manuscript fol' estimate. Prompt C. ",V. Guthrie, Coats Public Schools. Arr1'ong those w~o hove studied with Mr. La 167 Elmhurst Av., Detroit 3, Mich. To. 5-8413 service. Val's Arranging Studio, P.O. Coats, Kansas: Forge ';lre: Marlon Anderson, Lawrence Tib· MME. GIOVANNA VIOLA (HUll) of the family li,'ing room, provide schoolorchestra for traininu at Dr while the non-professionals num- Box 21G9. Daytona Beach, Florida. USED OPERA SCORES DOUGH'I'. bett, Rlchord Crooks, ond Mme. Malzerlouer. YOUI' Dramatic Soprano a studio for herself either in 11 Maddy's summer camp a7 Inter~ bered 35_ Five nationally known ,VJt,l'l'EH.S, C01UPOSERS= also Ballets, Music Dictionaries. Vo- 1100 Pork Ave., ~orner 89th St., New York Teocher 01 Singing-"Bel Canto" name on penny card brings pI'ice list, cal Anthologies, books about Opel·as. Tel. Atwater 9-7470 Experienced Europeon trained Artist DR. FRANCIS L. YORK spare room, in the basement, or orer lochen, artists were - slated to appear in :Magdalene Kuhlman, 184 South Point (\Ve cannot Sllpply catalogs). RING'S, Cooching Opera, Concert and Radio Drive, Avon Lake, Ohio. 1654 Cherokee, Hollywood 28, Cali- Advanced,Piono Interpretation ond the Thear the garage. She will have to attend Henry Sopkin, an outstanding concert with the Symphony during ;~//eecc/ed~oice praduc:tion, defective singing ~ork reqUired by thE; degrees of Mus. 8ach.~ S"TING PIA:"\'O BY InAIL. 30 self- fornia. EDWARD E. TREUMANN nd Mus. Mas. SpeCIal Chapin interpretotion workshops and clinics and buy an youth symphony conductor first the 1949-50 season_ They wel"e tenching lessons, $3.00. OV]~R 50 FOlt SALE: Must sell two violin~, Beginner$ ac:c:epted Concert Pianist-Artist-Teac:her DETROIT CONSERVATORY OF MUSIC . C A ' Dorothy Kirsten, Jacques Abram, PUBLICATIONS-classical and pop- nOReri and Cuypers. Ted Marche.tti, Recommended by Emil Von Souer Martiz Mosz· Phone: Trafalaar 7-8230 Man., Tues. Wed. Thurs exira piano as well as other neces· arneto tianla to conduct the huge lllar. Order '·boprhythmology." new 1275 West·wood Ave., Columbus, Ohio. 608 West End Ave, New Yo;k City Detroit, Mich. kowski and Joseph Hofmanrl. ' .sary equipment, She should join combined high school orchestra in Tossy Spivakovsky. Oscar Levant progl'essive piano solo $1.00. All new FOR SA.I"B: Private party dis· Studio, Carnegie Hall, Suite B37, 57th St. at 1------work. Onlel' free samples. PHIL persing collection. No dealers. Gia,m- 7th Ave., New York City Tel. Columbus 5-4357 lhe l\Iu.sic Teachers National M· 1934. The young people did well and WHliam Kapell. BRETO~ PUBLICATIONS, P. O. Box bnttista Guadagnini violin. Parma 1402, Omalla 8, Neb., U.S.A. SAN FRANCISCO CONSERVA- sociation and the Music Educators underhis direction, and he returned The Mayor declared September 18 1770; Laurentius Storioni viola, 161;.\; 'l'E"\.CH YO(;RSELF to play pl- TORY OF MUSIC, INC. through 25 as Symphony Week in Joseph Guadagninl 'cello. Other in- ALMA FAUST B.S. Music Education FRANK WILLGOOSE National Conference. attend the thefollOWingyear. ano quiCkly, l'ight at home. Profes- struments and bows. State refer- Piono Teacher 3435 Sacramento Street Walnut 1.3496 Atlanta. Local stores, newspapers sional method, easily learned. Also ences. P.O. Box 35, A r!ington Heights Piano Instruction meetings and read their magazines. Mr. Sopkin received his musical ingenious guide for teaching ch ildren Learn to Teach or Play for Pleasure Bo~helar .of Music Degree Opera Deportment 7f,. MA.ss. Summer Course: July 5-August 2 Especiolly directed to on effective musicol op- as well as the other publications tr.ainingin Chicago, where he studied and radio statjons cooperated in inctuded. Amazing proof free. 'Vrite Artists Diploma Pedogagy Certificote today. i\'lusic Teachers' Associates, ",roc AI" 'L'E.4.CHER A::'"I) CHOllt. 60Q West 111th. (Corner Broadway) proach to the very yOUrlg. Approved for veterons which have much to sav abollt her ano and violin under the late the fight to keep the Atlanta Sym~ 26N Potters Lane, Great Ned;:, N. Y. DIREC'I'OR wishes to locate in the New York 25. N.Y. MO 2-6772 e South or Southwest. Member of Na· Many years of success in this field. Children's Saturday morning Classes. profession. She w.ill ba~·e to study COnSamatini. At twenty·one he phony alive. As a result of the PIAN"O ACC01UPAXUIJ.~N'"'l'S RB- tional Assoctation of Teachers of b COR.D]j~J), Send music and check for Teachers ore irlvited for consultotion, either came concentrated campaign, more than SingIng, Kiwanis Club and presby- fhe lists of new materials. exchange e a member of the faculty of $4.20. Music returned ~!th, UN· terian Church. Experienced and high- WILLIAM FICHANDLER personolly or by mail, regordirlg child student tIel A . BRJ:::AKABLE RECORD. Vincent ~c- ALBANESE ideas with her fellow teachers and meflcan Conservatory and later four thousand season tickets were ly recommended. Reply Choir Dit·ec- Pianist, Composer, Teacher problems. cot:ding Service, P.O. Box 206, UnIOn, t'or, Box 24, c/o Etude, Bryn Mawr, Piano .. sold witbin a week. Symphony Week 314 West 75th St .. New York Su-7-377S Mus. D. go along wjth those who know from head of the instrument department N. J. Penna. Recent Compositions published by Address:-29 Prime Avenue ]<'AULTY VJOI,INS COlnU~C'l'E,J), Dial Dunkirk 2-7845 was a success, and the Atlanta Sym- 'VR,ITE,SONGS: Read "Songwriter's G. Schirmer, Inc. Huntington, long hland, N. Y. years of lrial and error that dBS· ~eachingorchestration and conduct: Practical experience of 40 years re- los Angele~ bOO So. New Hampshire lng. Review" Mr<,gaztne, 16ilO-ET Broad- work is a wonderful way to teaell phony was on the way up: . veals "the secret.': Satisfaction guar- way, New Yol'1{ 19, 20¢ copy; $2.00 n anteed. Information free .. V. ,I--. mu.sic. THEOP . Throughout his career, he had been An outstanding contnbul1o to Schwenk, Redwood Valley, Cnllfornl;t. year. Interested in young musicians, and the Sym- (Continned on Page 64) 62 ETUDE-APRIL 1951 63 ETUDE-APRIL 1951 SOUTHERN YOUTH BUILDS A SYMPHONY BERNARD WAliNESS (Continued from. Page 63) ONE OF THE· BEST SCIENTIFIC PIANO THEMATICS AND INSTRU<:TION BOOKS phony has been made by the Atlanta The music. although classical, is APPROACHES TO PIANO STUDY Symphony Guild. Inc., an outgrowth chosen particularly for its appeal of the group which originally under- to the child ren , and an outstanding Brilliantpieces for spring recital from a collection ofoutstanding composi- Meets the modern demand /01' attractioe ma- wrote the Atlanta Youth Symphony. young student musician is chosen to terials and rapid proqress. FREE Teacher's In the 'summer of 1949 the a ppear as guest soloist at each tions by EUA KETI'ERER-wodd renowned composer for the young. Mamual« /01' Preparatori), Book 1 and Book 2 Young People's Concert. Some of _",. .... \l1."'.~ Women's Committee of the Guild ';'t" al'e auuiiable upon request. was organized, and the officials of the selections used have been Sihel. the orchestra give the women much ius' "Fin landia." Rimsky.Korsakov't' by Ella Ketterer PIANO COURSE, ENSEMBLE BOOK of the credit for selling the Sym- "Capriccio Espagnole," and Schu- price, 3S cents PREPARATORY BOOK 430-40I09 ... $.75 phony. One official estimates that bert's "Unfinished Symphony." Grade 3 430-40113 . . $.50 For use with Book 1. Duet and the 150 women in the group have Although the Symphony of today Individualized steps gradually two-piano playing with se- made as many as 15.000 telephone is composed of mature musicians, developing and correlating the condo part for the teacher or calls to enlist contributions and sell many of them are the former high student's faculties. Opens ob- more advanced student. season tickets to the concerts. The school bove and girls who played long. service is entirely voluntary. in the fi;·st In-and-About Atlanta ---' EIGHT CHORDAL ATTACKS As a result. the Atlanta Symphony orchestra. ,,. .... c•• PIANO COURSE, BOOK 1 430-40042 $.75 entered the 1950-51 season "in the Concertmaster of the Symphony is 430-40114 ..... $1.00 Recital and practice material, black." possibly the only symphony Robert Harrison. Professor of Music Sensible sequence of ideas discussion, photographic illus- in the country in this condition. at the University of Georgia. Har- progress through el~mentary trations. Grade 3-4. Prelim- Corporate gifts and large personal rison is probably the youngest con- ,', training. Illus trat.ivc dia- inary exercises and explana- donations have been part.icularlv cert master of a major symphony in grams, annotations, delightful tory texts. Valuable in any sought by the group. A plan o l the country, but Conductor Sopkin drawings. teaching repertoire. company sponsors is being tried for describes him as "the beet violinist the first time this year, and promises I've heard:' to become very successful. This program is under the direction ~f the president of one of Atlant as • There is nothing in which the largest department stores and the power of art is shown as much as by £110 Ketterer president of a leading bank. Bus. in playing on the Fiddle. In all Price, 3S cent" nesses participating pledge a certain other things we can do something Grade '2 \f, \"11[.f3 Till contribution for a two-year period. at first: any man will torge 0 _...... -....:,.. Another division of the Symphony bit of iron if you give him a ----=== ~ Guild is the Junior Division. com- hammer: not so well cs a smith posed of younger women who assist but tolerably; and mo~e a box " the Women's Committee, and serve though a clumsy one; but give PIANO COURSE, BOOK 2 TECHNIC FUNDAMENTALS as hostesses at the Young People's him a Fiddle and a Fiddle-stid, 430-40115 $1.00 430-40 I 12 .$.40 Concerts. and he can do nothing. Can follow any first grade Presents pianistic gymnastics The Young People's Concerts, UIl- -Samuel Johnson r book. Supplies first recital to be introduced at the dis- dertaken first during the 1949-50 repertoire. cretion of the teacher. season, also have been an outstand- BOOKS PIANO COURSE, BOOK 3 ing success At the time that Harrison was a STRUCTION This is a series of three concerts student at the University of Georgia N 430-40 I 16 $1.00 MY WEEK IN CAMP , I young offered for school children only. he served as concertmaster with the . LAY (Melhod or ..... $ .50 Materials selected from folk 430-40057 :$.75 songs as well as classics, The concerts tickets were first offered original high school orchestra. He LETSP 5107) ..... Presenting definite technical 410_40062 beginners. ~"'SIC LAND etudes and original composi- through Atlanta schools but many attended the Juilliard Graduate features confronting second _..;...... mE IN lY>U d' lor tions. school officials in neighboring towns School. and returned to the I'niver- £110 Ketterer ADV1:01" u~· d stu ies 100 grade students. Interesting, by _ 3S cent" 4\0--40105 .. Ihods an) ..... have asked to participate in the pro- sit)' of Ceor gia as Director of Violin puce, (,,,e b ginners .... A'NO SECOND YEAR ETUDES descriptive verses. For boys gram and have been included in the Training. His wife also is a violinist PETln MAZ,URKA young e S IN pI .75 430-40110 $.75 and girls. 1950·51 series. \\0-27163 with the Symphony. Cotol09 No. ADVE~~~trades 2 10 ~~RE Original and standard etudes. The concert series for young An Atlanta Symphony School is 410--40106 Carefully graded in sequence. people during 1949·50 was highly TEC TY.EtGHT MINtA .... ' .75 14 SKETCHES IN STYLE operated for four weeks each sum- Thoroughly annotated. Use successful. But the 1950-51 season TWEN (Grade 3) .' 'YEAR 430-40049 $.75 mer to train young musicians. The 410_40240 DES with Book 2. saw a landslide of dollars t.hat OUG'H de 2 Early third year etudes in Atlanta SYI11!>honyGuild underwrites E'f\J THE bought every seat in the house ALL THRlion Pieces, Gra .' .60 THIRD 'YEAR ETUDES the school. Conductor Sopkin and 410-41006 (Col ec l . form ·of piano pieces, varied wjthin two days and left 400 chil- 430-40 III $.75 in style, each lying well under a staff of SC\'eu musicians leach 102'h) .... THElcEYBOARD For use with Book 3. For de- hand, with both hands eqnally dren on the waiting list for tickets. jnslrumcnts~ harmony. theory and r The entjre series is sold for 51.00 PARTNER~~;dS' Grade 30 .60 veloping style and velocity. considered. Just two pages in ensemble plarjng. of per ticket. The tickets are printed ~ 410_41012 (Four ) ...... "NG 62 pages. 33 graded studies. A high school orchestra is con- ~ length, with two exceptions. / ~ in special program booklets which tinued throughout the school l·car grownups ASSICS yOU 41 .75 contain program notes and other 10 Themntic catalog of 86 1Jia,no solos h·o1n as a training ground for future Sym- SHORT Cinn: \Grade 2 study materials to help in the pre. l 410_40254 PEOPLE F ut hands, lsI .75 ljl'(tcles 1 to 8 carefully selected and edited phony members. In all ways southern paration of the students for the .~.• '. t for 'use with this cmwse. Each has a br'ief young people are encouraged not SIDE BY SIDE ( r~de 1 10 2) .' analysis of study value. concerts. ... ~ 410--40044 duel call lor g FREE{ only to take an interest in good The school teachers cooperate with music, but to aim toward the goal of • ~ Send for your copies of: the Symphony by discussinO" the /- ----=~ • 0 a place in a major symphony or- THE BERNARD WAGNESS PIANO STUDY BOOKS musIc to be played, playing record. chestra in tIte Soutb. ~ ings of various selections and teach. E-3-SI The Teacher's Manuals. The Thematic CataloCJ ing concert etiquette. 1\·lost of the professionals nO\\' in the orchestra haye other pro· The children also hear broadcasts fessions as well There are insurance over the Atlanta school system's THEODORE PRESSER CO. men, school teachers, music teacber5. radio station, WABE-FM, which in. .thout notice. and others. But when the,- appear ge w, Bryn Mawr, Penna. clude commentaries on the music h-edtoeonh on the stage. they are one in the Prices_ su J • Retail Store 1712 Chestnut Street Philo.. Penna, and interviews with the Concert_ master and the conductor. music of the AtJanta S'rmphony Orchestra. THE E~D 64 ETUDE-APRIL 1951 ------at WORLD'S MOST UN U 5 UA L UNIVERSITY this year are approximately 3,000 STUDENTSfrom 47 States and 26 Foreign Countries representing 110 Protestant Denominations Of this number, there are almost 1100 ministerial students, 500 missionary volunteers, and 400, enrolled in the School of Education for Teacher Training. - '808 __ .I0NES !II. COllEGE OF ARTS AND SCIENCES, SCHOOLS OF FINE ARTS, RELIGION, BO B JON ES UNIVERSITY EDUCATION, BUSINESS, AND AERO- NAUTICS G r e e n v i I I e, Sou I h Car 0 lin a academy in connection music, speech and art without additional cost above regular academic. tuition l